SKU: BT.EMBZ6748
Hungarian-English-German-French.
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: BT.EMBZ12943
English-German-Hungarian.
The score contains the original directions of instrumental technique of the composer, on the other hand, the cello part includes the editorial suggestions. Die Partitur enthält die Originalanmerkungen des Komponisten zur Spieltechnik sowie im Celloteil einige abweichende Vorschläge des Herausgebers.
SKU: BT.SCHEE5239
SKU: BT.PWM12120010
SKU: BT.SCHBB1200415
SKU: BT.EMBZ14768
Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume. Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Ãrpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.
SKU: HL.50600437
8.0x11.75 inches.
For cello and piano. “This work was the result of a collaboration with my wonderful friend, the outstanding cellist Julius Berger. Several years ago, his exceptional interpretation of my Concerto for violin and violoncello impressed me deeply. Later, when he played my 2nd Sonata for violoncello solo, a work written for him, my enthusiasm became even greater. In my new piece, composed on the occasion of his 60th birthday, I intended to write kind of music in which not only virtuosity but also a beautiful sound should stand at the forefront. Above all, however, I wanted to please Julius with it and also give enjoyment to the audience. The title 'three times four' describes the basic idea of the work: three musical characters are varied in four different respective forms. Or put the other way round: four characteristic sound designs appear in three different shapes. It is difficult to say more about the piece than that. My ideal is music that is sufficient unto itself, a kind of music that requires no commentary - that itself says so much that all commentary becomes superfluous.†(Krzysztof Meyer).
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.48025366
UPC: 196288194279.
Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.
SKU: HL.49017074
ISBN 9790001151573. 9.0x12.0x0.182 inches.
In this trio, as in most of his compositions, Jost has pictures and associations with true incidents, films and novels in his mind. What inspired him to write this piece was Joseph Conrad's novel 'Heart of Darkness' in which the protagonist Marlow says about the city of Brussels: 'In a few hours I arrived in a city that always make me think of a whited sepulchre.'In 'Sepulchral City', a work commissioned to mark the tenth anniversary of the Jerusalem Chamber Music Festival, however, the title refers to Jerusalem, the city of white tombs. The topic of Jost's trio is a travel into the soul and living spirit of a city, with no physical movement being needed to find the heart of impenetrable darkness: It lies within the city walls.In this respect, 'Sepulchral City' equals a compositionally unfolded funeral bell. Even the animated middle section rather has insisting than progressive power. At the end, the only thing to do is to inhale and exhale.
SKU: BT.EMBZ13976
English-German.
The volume includes the excellent transcriptions for cello and piano of the three organ chorales by J. S. Bach, i. E. 'In dir ist Freude' BWV 615, 'Meine Seele erhebet den Herren' BWV 648, and 'Vater unser im Himmelreich' BWV 683.
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