SKU: BT.EMBZ13154

I. Prologue. Moderato quasi andanteII. ...comme une lettre sur moi m me. Moderato III. Maternité. Andante quasi allegretto IV. Elegie (en forme d'un tryptichon). - Poco rubato - Poco adagio - Andante V. Serenade en Carneval. Allegro giocoso VI. Soupir inquiet dans la nuit de printemps. Moderato poco rubato quasi fantasando VII. ...je m'en vais comme l'ombre quand elle décline et j'ai été emporté de côté et d'autre, ainsi que les sauturelles (Ps. 109). Poco adagio VIII. Chanson ivre. Allegro commodo poco capriccioso IX. Epilogue. Poco lento molto e

I. Prolog. Moderato quasi andante

II. ...wie ein Brief über mich selbst. Moderato

III. Mutterschaft. Andante quasi allegretto

IV. Elegie (in der Form eines Tryptichons)

- Poco rubato

- Poco adagio

- Andante

V. Faschings Serenade. Allegro giocoso

VI. Ruheloser Seuzer in die Frühlingsnacht. Moderato poco rubato quasi fantasando

VII....ich fahre dahin wie ein Schatten, der vertrie : ben wird und verjaget, wie die Heuschrecken...(Ps. 109). Poco adagio

VIII. Das trunkne Lied. Allegro commodo poco capriccioso

IX. Epilog. Poco lento molto espressivo

I. Prologue. Moderato quasi andante

II. ...comme une lettre sur moi m me. Moderato

III. Maternité. Andante quasi allegretto

IV. Elegie (en forme d'un tryptichon).

- Poco rubato

- Poco adagio

- Andante

V. Serenade en Carneval. Allegro giocoso

VI. Soupir inquiet dans la nuit de printemps. Moderato poco rubato quasi fantasando

VII. ...je m'en vais comme l'ombre quand elle décline : et j'ai été emporté de côté et d'autre, ainsi que les sauturelles (Ps. 109). Poco adagio

VIII. Chanson ivre. Allegro commodo poco capriccioso

IX. Epilogue. Poco lento molto e.

SKU: HL.14028353

ISBN 9781846096709.

Simon Holt's 1985 composition, Tauromaquia is named after a series of etchings by Goya, all of which are studies of the art of bullfighting. This piece for Piano solo was commissioned by Ian Brown, who gave the first performance in 1987, and delivers great bravura with knife-edge intensity and power. Duration 10 minutes.

SKU: HL.14015277

ISBN 9781846097959. 9.0x12.0x0.082 inches.

This work was commissioned by KlaraFestival, Flanders, Belgium. It was first first performed by Sarah Nicolls at the Palais des Beaux-Arts, Brussels on 22nd September 2005, as part of KlaraFestival.

SKU: HL.14011732

ISBN 9780853607441. UPC: 884088433628. 9.0x12.0x0.123 inches.

These extended and quite complex pieces were composed during the second half of 1986, and the first performance was given by the composer on 21 November 1987. The first piece is darkly intense, No.2 is a playful and rather sardonic Scherzo with two distinct ideas, and is followed without a break by No.3, an extended slow piece. No.4 is a headlong toccata with a contrasting lyrical second theme and the jazz element here is quite strong.

SKU: HL.50600649

ISBN 9790080150009. UPC: 888680895518. 10.25x13.5x0.622 inches. Hungarian, English. Gyorgy Kurtag.

In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who had been his student in earlier years and who, even today, is one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades; however, since then he has used this collection - expanded over 32 years since by Kurtág - whenever he plays pieces from Games in concert. Since the time of this 1974 concert, as he writes: 'I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.' The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score. The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.

SKU: BT.ARMESDP039

SKU: BT.EMBZ15000N

English-Hungarian.

In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who was his student in earlier years and who, throughout his entire life, was one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades however, he always used this collection - expanded over 32 years since by Kurtág - whenever he played pieces from Games in concert. Since the time of this 1974 concert, as Kocsis wrote later: ''I didn't know that the spiral notebook I received at thepremiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.''The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score.The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.