Transylvania

SKU: HL.50510086

ISBN 9790080400715. UPC: 073999621211. 5.5x8.0x0.091 inches. Hungarian, English, German. Bela Bartok.

'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartok had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartok explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartok was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).

SKU: HL.155306

UPC: 888680546915. 6.75x10.5 inches.

The American girl group Fifth Harmony is featured in the fun, gothic style of this single from the animated film Hotel Transylvania 2. The “fright-rock” thump of the track makes this a sensational selection for a pop/show novelty or Halloween-themed concert.

SKU: BT.EMBZ14779

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 'obstiné' 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 ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán 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 Bartókian 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.

The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests 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 stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).

Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.

SKU: HL.49045226

ISBN 9790001159555. 9.0x12.0x0.237 inches.

The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: 'Oderint dum metuant' is a raving Allegro with a Baroque ritornello structure and modern 'Draculisms'. 2: 'Luna su Tirgoviste' is a memoriam for the thousands of impaled victims who came to a violent end in today's Targoviste. 3: 'Il ballo transilvano' confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations - in the manner of the stick and the carrot. 4: 'Bacio di sangue' is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott Schneider

Bassklar. * Fg. (auch Kfg.) - S. (Crot. * Vibr. * Marimba * Rohrengl. * Trgl. * 2 Beck. * Tamt. * kl. Tr. * 2 Tomt. * gr. Tr. * Chimes* Tempelbl. * Woodbl.) (2 Spieler) - Cemb. - Str. (6 Vl. * 4 Va. I * 4 Va. II * 3 Vc. I * 3 Vc. II * 3 Kb. [Die Streicher konnen auch solistisch besetzt werden.]).