Composer and violinist János Lavotta (1764-1820), as a member - together with János Bihari and Antal Csermák - of the ''virtuoso trio'' who played a great role in the history of Hungarian music, was one of the pioneers of verbunkos music. Although his violin duos op. 49 must have also been used for playing music at home, they show the composer's clear educational intent, since the fourteen consecutive pieces represent a gradually increasing difficulty in both technical and musical respects. The relatively short and undemanding melodies, which can be grasped by beginners, the sequence-like structure that makes practising individual technical elements possible, the rhythmical-harmonic accompanying forms, as well as the temperately applied modulations are definitely suitable for beginner violinists to achieve significant progress in playing. According to music historian Mária Domokos, Lavotta's duos could have been included in the syllabus of any contemporary music school at the time. The first publication of Easy Duos - which came out on the 250th anniversary of the Lavotta's birth - was edited by János Dombóvári who provided the fingering and the necessary instructions for performance. / Piano
SKU: BT.EMBZ14887
English-Hungarian.
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. Aulos to a certain degree continues Orbáns easy piano pieces for children, which he composed for Ágnes Lakoss piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on thisoccasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least threeyears. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution,double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbáns explanations are not text-book-like atall, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purposethey are equally individual, witty and inspired pieces of music that are a joy to play.
SKU: BT.EMBZ14888
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. Aulos is composed for more advanced students who have studied piano for at least three years. Aim is a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation anddiminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies withdemonstrative illustrations the polyphonic procedure he introduces. Orbáns explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - whilethey perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play.
SKU: BT.EMBZ14898
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition. The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. The volumes and the CD are also available separatly.
SKU: CF.PCB112
ISBN 9781491163313. UPC: 680160922109. 9 X 12 inches.
SKU: BT.PL0655
SKU: KU.GM-1941
ISBN 9790206206603.
In the four movements Earth/Gaia, Kyklos Aquae, Aulos – recitativo del vento and the fire dance il fuoco, Daniel Schnyder describes the four elements: earth, water, air and fire, which have always fascinated people and can be both vital and deadly.
SKU: BR.EB-9078
World premiere: Hannover, October 7, 1990Dedicated to the pianist Catherine Vickers
ISBN 9790004179536. 9 x 12 inches.
In ,,Beds and Brackets gibt es ein Stuck im Stuck: Statement zu einem Faustschlag Nonos. Kurz vor seinem Tod war ich mit Nono zusammen in einer Kompositionswettbewerbs-Jury. Wahrend dieser Tage schlug er manchmal mit der Faust schwere, massige Rhythmen elementarster Proportion auf den Tisch. Vierfaches Forte. Diese Befreiungsschlage hafteten die ganze Zeit wahrend der Arbeit an Statement in meinem Gedachtnis. Sie waren ganz aus dem Nahbereich des Machens und Wahrnehmens geboren. Solcher Nahbereich menschlicher Sinnenwelt ist auch musikalisches Ausfuhrungs- und Hormodell des ubrigen Stuckes. Die jeweiligen Tone werden aus der 88-tastigen Klaviatur aufgrund von Bewegungsentwurfen abgerufen, deren Streckenmasse und Geschwindigkeiten, multipliziert mit den jeweils zu bewegenden Organ(gewicht)en, Ton und Harmonik charakterisieren. Der horizontale, zeitliche Verlauf des Stuckes verwirrt zeitweise die Nahbereichswahrnehmung durch Wiederholung. In der Partitur zeigen numerierte Klammern das jeweilige Notentextfragment an, das an einer anderen Stelle in den musikalischen Verlauf eingeschoben werden soll, und zwar so, als wurde es zum ersten Mal erklingen. Es geht also nicht um psychisch-dynamische Weiterspinnung, sondern um eine live simulierte Wiederholung von Vergangenem, als ware es gar nicht vergangen. Derartige horizontale Bewegungsentwurfe betonen an Wiederholung eher das Fremde, Sprengende, nicht das Zusammenhangschaffende. Gegen Ende argumentiert der korperliche Nahbereich, schlagt um in ,,Umgebung: Lauft da nicht ein Radio, ein Fernseher, ein Kuhlschrank? Geht da nicht ein Wind draussen? Fahrt nicht ein Auto? Spielen da nicht Kinder? Tonbander sind nur eine schwache Simulation! Im Optimalfall sollen Fenster und Turen des Konzertsaales geoffnet und wieder geschlossen werden. (Nicolaus A. Huber, 1990) CDs: Kristine Scholz CD Alice musicproduction ALCD 011 Catherine Vickers CD col legno AU 31821 CD Koch Aulos 3-1817-2 Bibliography : Birkenkotter , Jorg: Keine Kleinigkeiten: ,,Bagatellen, ,,Shrugs, ,,Statement ... Kurze Stucke im Werk Nicolaus A. Hubers, in: Nicolaus A. Huber, hrsg. von Ulrich Tadday (= Musik-Konzepte. Neue Folge 168/169), Munchen: edition text + kritik 2015, pp. 153-175. Schat , Peter W.: Didaktische Brucken. Ein Kommmentar zu Nicolaus A. Hubers Beds and Brackets, Musik & Bildung 5/1995, pp. 49-51.World premiere: Hannover, October 7, 1990Dedicated to the pianist Catherine Vickers.
SKU: BR.EB-9385
ISBN 9790004188552. 12 x 9 inches.
Darabukka ist eine arabische Vasentrommel - heute vorzugsweise vom fahrenden Volk gebraucht - die zwei Klange erzeugt: einen hohen und einen tiefen (+ hohen). Durch Abdecken der unteren Offnung verschwindet der tiefere Klang, und der hohere bleibt allein ubrig. Diese Eigenschaften sind auf das Klavier ubertragen: 1. Die Taste wird wie eine Trommel behandelt, und alle moglichen Finger- und Handkombinationen werden zur Rhythmus-Instrumentation herangezogen. 2. Durch subharmonische Teilschwingungen wird der Tastenton zusatzlich klanglich aufgebrochen. Ihre Klangfarben unterliegen den Rhythmusmodellen. 3. Ich habe dieses Stuck von verschiedenen Volks-Musiken gelernt, und am Ende erklingt eine Solidaritats-Klangaktion fur das Volk von Chile: ,,El pueblo unido jamas sera vencido! - ,,Das Volk wird niemals besiegt werden, wenn es einig ist. In Darabukka wird mit drei verschiedenen Struktur- und Klang-Charakteren gearbeitet. Unter den vielen Techniken der Rhythmuskomposition ist vielleicht die der rhythmischen Modulation am interessantesten: Durch Umdeutung einer Dauer kann von einem Modell x zu einem Modell y ubergeleitet werden. (Nicolaus A. Huber, 1976) CDs: Kristine Scholz CD Alice musicproduction ALCD 011 Catherine Vickers CD Koch Aulos 3-1817-2 Bibliografie: Dudda , Friedrich: Nicolaus A. Hubers ,,Darabukka, in: Feedback Papers 15, Koln 1978, S. 19-21. Schick , Tobias Eduard: Weltbezuge in der Musik Mathias Spahlingers (Beihefte zum Archiv fur Musikwissenschaft, Band 80), Stuttgart; Franz Steiner 2018, dort S. 97-99World premiere: Paris, March 14, 1977.
SKU: HL.50582844
SKU: BR.KM-2529
World premiere: Tubingen, Landestheater, May 11, 1988
ISBN 9790004504420. 11.5 x 16.5 inches.
CD:Vokalensemble belcanto Frankfurt, cond. Dietburg SpohrAulos 55013Bibliography:Adam-Schmidmeier, Eva-Maria von: Journalist ermordet Schmuck und Geld , in: Musik und Unterricht, Heft 105 (November 2011), pp. 16-21.Holszky, Adriana: Wandernde Klangraume und die Korperlichkeit des Klanges, in: Neue Rundschau 132 (2021), Heft 1, S. 146-158Kostakeva, Maria: Metamorphose und Eruption. Annaherung an die Klangwelten Adriana Holszkys, Hofheim: wolke 2013 (pp. 67-71).World premiere: Tubingen, Landestheater, May 11, 1988.
