The pieces contained in this album encompass 300 years of French music ranging from the gamba music of the Baroque period to the impressionism of Debussy. While the technical difficulties encountered in these selections seldom go beyond the intermediate level the interpretation requires versatility from the performer. The seventeenth century compositions should be played with crisp articulation and an incisive rhythm. The romantic pieces require a rich full tone whereas the selections by Faure and Debussy should be treated with subtlety of phrasing and tonal refinement.
SKU: HL.50600796
ISBN 9790080149614. UPC: 888680676605. 9.0x12.0x0.121 inches. Hungarian, English, German, French. Bela Bartok; Arpad Pejtsik.
Bela Bartok composed his 44 Violin Duos in 1931, at the urging of the German violin pedagogue Erich Doflein. With two exceptions, all the pieces are based on original folk music themes, most of which the composer himself collected in the course of his numerous collecting trips to the Carpathian Basin and in Algeria. Although conceived as parts of a pedagogically motivated set, these little pieces are highly effective in concert performance as well. The transcription follows Bartok's original faithfully. The publication includes fingerings added by the editor.
SKU: BT.EMBZ6312
Hungarian-English-German-French.
ABRSM Syllabus title - Grade 2.This is a collection of popular classics and European folk tunes arranged for beginning cellists.The volumes 'Music for Beginners' series cover the entire music literature from the earliest centuries to our days. The contents of the individual volumes, comprising short, easy pieces to be played in the first three-four years of instrumental study, has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time.Eine Sammlung von beliebten Klassikern und Volksmelodien aus Europa für Celloanfänger.
SKU: BT.EMBZ14339
This is a continuation of the very successful series, 'Classical Piano Trios'. As in the earlier volumes, here too the range of notes for the stringed instruments does not extend beyond the first position, but the pieces vary in difficulty and in length, the easiest are playable after two years of serious study. The varied material includes works by not only German, Russian and French composers, but also some representatives of national romanticism. Consecutive works by the same composer can be performed as a suite.
SKU: KN.19618
UPC: 822795196184.
This collection is a terrific resource for student groups, church musicians, family musicians and more. These grade 3 arrangements are fully interchangeable, and contain well-known classical melodies. Published in score form for any combination of instruments using the appropriate key-compatible books.Contents:Can Can(Offenbach); French Song (Tschaikowsky); German Dance (Mozart); The Happy Farmer (Schumann); Minuet (Bach); Rosamunde (Schubert); Slavonic Dance (Dvorak); Surprise Symphony (Haydn); Trumpet Voluntary (Clarke); and Turkish March (Beethoven).
SKU: BT.EMBZ6748
The volumes of the series cover the entire music literature from the earliest centurties to our days. The material of the individual volumes containing short, easy pieces to be played in the first three-four years of studying the instrument has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time. An ABRSM syllabus title, 2010-16, Grade 2-3.
SKU: HL.50512037
ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.
The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.
