Organ Symphonies Nos. 1, 2 And 3

SKU: HL.49016184

ISBN 9790001140782. UPC: 884088202484. 9.0x12.0x0.145 inches.

Schneider's Organ Symphony No. 1 is in the tradition of the French organ symphonies (Widor, Vierne, Durufle). With its general tendency from the desperate dark to the comforting bright, the symphony brings up the air of the praying and pleading of suffering people as a theme. The 'pater noster' as archetype of the prayer is cited in all movements.

SKU: HL.49016185

ISBN 9790001145411. UPC: 884088202507. 9.0x12.0x0.141 inches.

As a counterpart to theOrgan Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.

SKU: SU.00220639

TRIPLE VOLUME! All on 1 USB Flash Drive 1. Bach: Complete works for Organ - This CD Sheet Music™ collection brings together all of Bach's major works for organ. Includes: Orgel-Büchlein(with alternate versions), Clavier-Übung, Chorale Preludes, German Organ Mass, The Art of the Fugue, The Musical Offering, and more. 2. Baroque Organ Works - This CD Sheet Music™ collection brings together several hundred works by 17th and 18th masters of the Baroque organ tradition. Composers include: Buxtehude (Preludes, Toccatas, Fuges, Chorale Preludes); Froberger (Canzonas, Capriccios, Fantasias, Ricercares, Toccatas); Handel (Concertos); Pachelbel (Preludes, Toccatas, Fantasies, Fugues, Ricercares, Chorale Preludes, Fugues on the Magnificat, Canon in D); Sweelinck (Chorale Preludes & Variations, Fantasias, Variations on Secular Songs & Dances, Toccatas); and more 3. French Romantic Organ Music - This CD Sheet Music™ collection brings together over 150 works comprising the great 19th century French organ repertoire. Dupré (Prelude & Fugue, Op 7, Les Vêpres de la Vierge); Franck (Grand Pièce Symphonique, Pièce Heroïque, Prélude, Fugue et Variation, L'Organiste: 59 Pieces for Harmonium); Gigout (Gregorian Album, Ten Pieces for Organ, Grand Choeur Dialogué); Guillmant (Sonatas Nos. 1-5, Christmas Carols, Op. 60, Organiste Liturgiste, Op. 65); Honegger (Fugue, Chorale); Ropartz (Rhapsodie sur Deux Noëls Populaires); Saint-Saëns (Trois Rhapsodies sur des Cantiques Bretons, Marche Religieuse, Sept Improvisations, Op. 150); Satie (Messe des Pauvres); Tournemire (Sortie, Pièce Symphonique, Variae Precis, Op. 21, Triple Choral, Op. 41); Vierne (Symphonie Nos. 1-4, Messe Basse, 24 Pieces in Free Style); Widor (Symphony Nos. 1-8, Symphonie Gothique, Symphonie Romane) Also includes biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 3800+ pages.

SKU: SU.00220559

This CD Sheet Music™ collection brings together over 150 works comprising the great 19th century French organ repertoire. Dupré (Prelude & Fugue, Op 7, Les Vêpres de la Vierge); Franck (Grand Pièce Symphonique, Pièce Heroïque, Prélude, Fugue et Variation, L'Organiste: 59 Pieces for Harmonium); Gigout (Gregorian Album, Ten Pieces for Organ, Grand Choeur Dialogué); Guillmant (Sonatas Nos. 1-5, Christmas Carols, Op. 60, Organiste Liturgiste, Op. 65); Honegger (Fugue, Chorale); Ropartz (Rhapsodie sur Deux Noëls Populaires); Saint-Saëns (Trois Rhapsodies sur des Cantiques Bretons, Marche Religieuse, Sept Improvisations, Op. 150); Satie (Messe des Pauvres); Tournemire (Sortie, Pièce Symphonique, Variae Precis, Op. 21, Triple Choral, Op. 41); Vierne (Symphonie Nos. 1-4, Messe Basse, 24 Pieces in Free Style); Widor (Symphony Nos. 1-8, Symphonie Gothique, Symphonie Romane) Also includes biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1800+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: BA.BA10303-01

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: SU.00220227

AVAILABLE FOR SALE TO U.S. CUSTOMERS ONLY The complete Harp, Keyboard (Piano, Organ, etc.) and auxiliary parts [CD-ROM] for the 50 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 9: Strauss, Sibelius and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: BLOCH Schelomo; J. STRAUSS II Fledermaus Overture, Gypsy Baron Overture, Perpetuum Mobile; R. STRAUSS Alpine Symphony, Also sprach Zarathustra, Aus Italien, Bürger als Edelmann (Le Bourgeois Gentilhomme), Burleske for Piano and Orchestra, Cäcilie, Dance of the Seven Veils, Death and Transfiguration, Don Juan, Don Quixote, Ein Heldenleben, Freundliche Vision, Horn Concerto No. 1 in Eb, Macbeth, Morgen (2 keys), Das Rosenband, Rosenkavalier Waltzes, Symphonia Domestica, Till Eulenspiegel's Merry Pranks, Zueignung (2 keys); SIBELIUS Andante festivo, En Saga, Finlandia, Karelia Suite, Lemminkäinen Suite Nos. 1-4, Pelleas and Melisande, Pohjola's Daughter, Symphonies Nos. 1-5, Valse triste, Violin Concerto; SCHOENBERG Chamber Symphony No. 1, Gurrelieder, Pelleas and Melisande, 5 Pieces for Orchestra, Pierrot lunaire, Verklärte Nacht; WEBERN Passacaglia, Op. 1 Visit for more information

Ple ase note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: CF.PL1056

ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt.

Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a...

SKU: BT.DHP-1002209-010

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.The final movement is named after ISTVAN, the King who introduced Christianity into Hungary and who was crowned by Pope Silvestro II on January 1, 1001. A rather solemn start leads to another war-like passage, ending with some loud crashes. This symbolizes the fact that the body of the pagan Koppany was cut into four pieces, and sent to the four castles of the country as an example. After a quiet, almost religiousintermezzo, the National Hymn of Hungary is introduced. This broad “grandioso” ending also has a symbolic meaning: after ten centuries, Hungary has many reasons to look back on the past with pride, and to look forward to the future with optimism and confidence.

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

SKU: BT.DHP-1002207-140

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.ATTILA, King of the Huns, often named “The scourge of God,” is the central figure of the first movement, mainly characterized by fear, threat, aggression, and cruelty. Attila’s brother, Buda, however, has a more heroic theme, while his beloved wife, Rika, has a lyrical melody. The exciting ending of this opening movement illustrates the dreaded speed of Attila’s troops: they pursued their victims and killed them all!

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

SKU: BT.DHP-1002208-010

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.The second movement focuses on ARPAD, the actual founder of the Hungarian State. It starts with an atmospherical passage, evoking his grandmother, Emese, who dreamt about his future destination. One of Arpad’s opponents, the Bulgarian Prince Zalan, was chased away after a fight. After this, Arpad officially named the territory “Magyarorszag.†

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

SKU: BT.DHP-1002209-140

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

SKU: BT.DHP-1002207-010

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.ATTILA, King of the Huns, often named “The scourge of God,” is the central figure of the first movement, mainly characterized by fear, threat, aggression, and cruelty. Attila’s brother, Buda, however, has a more heroic theme, while his beloved wife, Rika, has a lyrical melody. The exciting ending of this opening movement illustrates the dreaded speed of Attila’s troops: they pursued their victims and killed them all!

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

SKU: BT.DHP-1002208-140

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak â??de gesel Godsâ?? genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attilaâ??s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attilaâ??s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpadâ??s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel â??Magyarorszagâ??.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Gei�el Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Gro�mutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une ?uvre de commande pour lâ??Orchestre dâ??Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de lâ??Orchestre dâ??Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace lâ??histoire de la Hongrie. Lâ??ensemble des trois mouvements sâ??inspire de la vie de personnages historiques clés, de guerres et dâ??autres événements de grande importance qui ont marqué lâ??histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de lâ??Ã?tat hongrois (1001-2001). Lâ???uvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par lâ??Orchestre dâ??Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé â??le Fléau de Dieuâ?, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, dâ??agression et de cruauté. Bléda, le frère dâ??Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, lâ??épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement dâ??ouverture illustre lâ??effroyable rapidité avec laquelle les troupes dâ??Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de lâ??Ã?tat hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Ã?mèse, la grand-mère dâ??Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre lâ??un de ses opposants, le prince bulgare Zalan, et lâ??avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Ã?tienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures dâ??ouverture, solennelles et majestueuses, mènent un passage dont lâ??atmosphère belliqueuse sâ??intensifie pour sâ??achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dellâ??Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato â??il flagello di Dioâ?? è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dallâ??aggressi one e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, lâ??amata moglie, è rappresentata da una melodia lirica. Lâ??eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone lâ??accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio â??Magyarorszagâ?.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare lâ??atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato lâ??Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia lâ??orgoglio dellâ??Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dellâ??Inno nazionale ungherese è proposto nellâ??arco dellâ??intera sinfonia. Eâ?? però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileallâ??inizi o ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in unâ??apoteosi finale, facendo apparire lâ??organico strumentale come un maestoso organo.