SKU: BT.DHP-0981105-020
SKU: BT.EMBZ2132
Hungarian-English-Germ an-French.
'The arrangements included in the present volume reflect the first musical impressions of my childhood. In their harmonisations reminiscences of some turns heard at my parent's home can be detected sporadically... The piano writing is dance-like throughout but tries to make the musical material as varied as possible. It attempts to reproduce the typical playing of the gypsy orchestra, shaping it into a little character piece in some places.' (Ferenc Farkas).
SKU: BT.EMBZ8183
English-German.
During his ''years of pilgrimage'' spent in Italy, the young Liszt gained enough musical inspiration from the local musical, artistic, and literary heritage to last for decades. These intense impressions are recorded in Volume 2 of Années de pelerinage, whose sources range from Raphael to Michelangelo, Dante, and Petrarch. Three of the latter's sonnets (47: Benedetto sia 'l giorno 104: Pace non trovo and 123: I' vidi in terra angelici costumi) were first set by Liszt as songs and, shortly afterwards, arranged for piano solo. The songs and, as a result, the piano pieces as well, reflect the style of Italian bel canto - Donizetti and Bellini - rather than following the GermanLied tradition. And while this feature was criticized by the contemporary press, the broadly arching melodic lines of these pieces and their Mediterranean passion have always carried away performer and listener alike. This revised (2018) edition contains the Three Sonnets in two versions: the first version was published in the course of 1846 and 1847, and the second, as part of Volume 2 of Années de pelerinage, in 1858. Based on the New Liszt Edition, the present volume provides a revised score, a facsimile reproduction, and critical notes. The new editorial preface orientates the reader in all the major questions regarding the work's genesis.
SKU: BT.DHP-0981105-120
SKU: BT.EMBZ60
English-German-Hungari an.
'Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches', after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year, and it was only after some time he decided they should be published as a pair. From the beginning, audiences were impressed by the first dance, in the composer's peculiar performance, with its initial drumming, and its driving rhythms. If less popular, compositionally the second dance is more original. He parades and varies his material in a chain form, and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians, which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25, László Somfai).
SKU: BT.EMBZ8189
Franz Liszt was barely 20 years old when he first read Dante s Divine Comedy, but it left a lasting impression on him throughout his entire life that only a truly impactful creation can have on the human soul. This is what inspired the Dante Sonata which Liszt premiered in Vienna in 1837. Stemming from this, he created a revised version entitled Apres une lecture du Dante, Fantasia quasi Sonata which appeared in 1856 within the second cycle of his Années de pelerinage (Years of Pilgrimage).In the appendix of the present edition, the work s earlier version entitled Paralipomenes a la Divina Commedia, Fantaisie symphonique is also included. It has survived in the handwritingof Liszt s secretary, Gaetanio Belloni, and it contains autograph notes by Liszts. This revised (2016) edition contains not only musical scores of excellent quality, but also a detailed foreword in English and German as well as critical notes in English.
SKU: BT.EMBZ13901
The French flutenist, composer and instrument maker born in 1684 is the originator of the long and impressive French flute playing tradition. The present volume is the first modern, critical edition of 'Pieces' published in 1708 and revised seven years later.
SKU: HL.50605472
ISBN 9781705189467. UPC: 196288125211.
In his Sonata, Peter Wolf puts his style well-known from the character pieces of his previous piano series (Wolf-temperiertes Klavier, Jazz preludes) in the service of a demanding form. We can recognize the style that can be traced back to jazz and Bartok, the characters that tap like a toccata or swirl like perpetual motion, the singing lyrical melodies or even such playful turns as the baroque musette-like episode of the slow movement. Like Wolf's previous piano works, this multi-faceted composition, which sets high standards in terms of instrumental technique, was inspired by the outstanding pianist Jozsef Balog and gives the impression of his individuality as a performer.
SKU: BT.EMBZ13400
Latin.
Vocal music, especially church music, has always played an important role in the oeuvre of the extremely versatile composer Sándor Szokolay (1931-2013). He left behind four complete mass settings among these Missa Pannonica , written for six-part mixed choir, was composed in 1987 for the Tomkins Vocal Ensemble conducted by János Dobra. János Malina praised the nearly half-hour, large-scale and virtuosic work as follows: The mass is an outstanding achievement within Szokolay's sacred music oeuvre. It is a composition with extremely rich musical contents, and it is impressively spontaneous and powerful, combining a broad range of styles, traditions, and influences in a veryoriginal way..
SKU: HL.50487605
ISBN 9790080134009. B/5 (17x24) inches. Latin. Sandor Szokolay.
Vocal music, especially church music, has always played an important role in the oeuvre of the extremely versatile composer Sandor Szokolay (1931-2013). He left behind four complete mass settings; among these Missa Pannonica , written for six-part mixed choir, was composed in 1987 for the Tomkins Vocal Ensemble conducted by Janos Dobra. Janos Malina praised the nearly half-hour, large-scale and virtuosic work as follows: The mass is an outstanding achievement within Szokolay's sacred music oeuvre. It is a composition with extremely rich musical contents, and it is impressively spontaneous and powerful, combining a broad range of styles, traditions, and influences in a very original way..
SKU: BT.EMBZ12718
Throughout his life, Liszt's imagination was almost obsessed with notions of death and mourning. He composed many works on these topics, such as Pensée des morts, Funérailles, the two versions of La lugubre gondola, and Totentanz (Dance of Death), based on the Gregorian Dies irae sequence depicting the horrors of the Last Judgement. The latter project matured over a period of several decades, beginning in 1830, when Liszt heard the premiere of Berlioz's Symphonie fantastique, whose finale includes the Dies irae theme. Along with this musical impression, Liszt was stirred by horrifying visual representations of the dance of death by Holbein and Buffalmacco. Totentanz, composed asa series of variations, was finally completed during Liszt's Weimar period as one of its most outstanding compositions. Totentanz, composed as a series of variations, was finally completed during Liszt s Weimar period as one of its most outstanding compositions. Of the three versions for piano solo, two pianos, and piano and orchestra, this edition contains the two-hand piano solo version. This revised (2018) version is based on the New Liszt Edition, and provides a revised score, a facsimile reproduction, and critical notes. The new editorial preface orientates the reader in all the major questions regarding the work's genesis.
SKU: PR.114408750
UPC: 680160013289. 8.5 x 11 inches.
This work was commissioned by the Friends of the Phoenix Public Library for the dedication of the new Music Room and made possible in part through the funds from the Arizona Commission on the Arts, and Meet the Composer-Arizona. Diary of a Journey was composed between July and September 1995 for the group Arpeggio. During the early summer of 1995, my wife and I took a vacation to Prague and Budapest. It was the first trip for both of us to these former Iron Curtain capitals. The train ride through the beautiful country-side, the dilapidated small villages and towns, the magnificent architecture and the feeling of grandeur in the two major cities left an indelible impression on me. I longed to write some kind of an essay about it. Diary of a Journey is the result of some of these thoughts, which were sketched (musically) as we visited each place. There are four 'snapshots' or movements which do not portray a specific scene, but rather try to capture the impressions I gathered from the people we observed and met, and the many awe-inspiring experiences we had. Throughout the journey, I felt that people were clinging to a tenacious hope for a better future, no matter how long it will take to realize it. In the first movement each player portrays a struggle against all odds, and with great energy and even wit tries to overcome the obstacles, ending on one serene high note as a resting point after all the conflict. The second 'snapshot' tries to capture the deep faith of a newly regained religiosity. It is chant-like, and uses as its basic melodic material a famous Czech hymn, penned by the great religious reformer John Huss. This movement is played very freely, without bar-lines and with the hymn shining through the fervent chanting. The third movement is a kind of 'demonic' scherzo. Fast and furious, the three instruments vie with one another in a true perpetual motion frenzy, which is at times relieved by short, more pastoral melodic fragments. A rather wild ending should leave everyone breathless. Finally, in the fourth 'snapshot' the instruments play a bit more as a team, meaning that is that there is more melody with accompaniment, and more imitative music giving the impression of a group effort. The energy is still at a high level but long lyrical lines abound, accompanied and interrupted at times by undulating fast notes still depicting the struggle against the blight which any visitor notices all around these countries, yet also showing the determination of the people to conquer adversity. --Samuel Adler.
