SKU: FG.55011-635-1

ISBN 9790550116351.

In 1929 Sibelius sent some small pieces to the New York publisher Carl Fischer for
consideration. Included among these was the Suite for Violin and String Orchestra, to which
he had assigned the opus number 117.
The Suite for Violin and String Orchestra represents the culmination point in a series of
works written for violin and orchestra which started with the serenades op. 69 and continued
with the Six Humoresques opp. 87 & 89. Together these works bear witness to the
composer's deep insight into the instrumental possibilities of the violin. In these works, more
limited in formal scope than the Violin Concerto though they be, the voice of the solo violin
- Sibelius' second mother-tongue - unites with the orchestral writing of a mature and
experienced symphonist. The reduction and solo part are published together for the first time.
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SKU: BT.EMBZ433

English-German-Hungarian.

Béla Bartók often used musical material from his folk music collections for his compositions. His Sonatina, originally written for solo piano in 1915, was based on songs that he collected in Transylvania. The three movements (1. Bagpipers - Molto moderato, 2. Bear Dance - Moderato, and 3. Finale - Allegro vivace) were orchestrated by Bartók in 1931. Shortly before Bartók's orchestral transcription was finished, violinist Gertler Endre's transcript for violin and piano was completed. Gertler and Bartók knew each other personally and, in fact, first made each other's acquaintance as a result of their shared experience with their respective transcriptions.

SKU: AP.36-60710009

ISBN 9798888521786. UPC: 676737764432. English.

Unlike Bach and Chopin, Claude Debussy (1862-1918) wrote his twenty-four Préludes for solo piano without a clearly organized pattern of key relationships. They were written from December 1909 to April 1913, in two sets, with twelve preludes to each volume. Jane Mortier delivered the premiere of the first volume on May 3, 1911, at the Salle Pleyel in Paris. Walter Morse Rummel gave the first complete performance of the second volume on June 12, 1913, at the Aeolian Hall in London. Prelude No. 5 from Book 2, subtitled Bruyéres, bears similarity to another of his works for piano, La Fille aux cheveux de lin (The Girl with the Flaxen Hair). The pianist Marguerite Long, a friend of the composer, suggested that it sounded reminiscent of the mingling scent of sea mist and pines. French composer and arranger Lucien Garban completed this transcription of No. 5 from Book 2 (Bruyères) for violin and piano in 1926. Reprint edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-60710007

ISBN 9798888521687. UPC: 676737816278. English.

In the years preceding World War I, Hungarian composer, pianist, and ethnomusicologist Béla Bartók (1881-1945) took trips to the Transylvanian region to explore the musical traditions of the Romanian population. Following a two-year depression caused by the war, as well as some professional setbacks, he returned to composition. The Romanian Folk Dances, Sz. 56, emerged in 1915, bearing a strong influence from his experiences as an ethnomusicologist. They comprise 6 dances, all based on folk tunes that Bartók had recorded and transcribed. In 1917, he arranged a version for full orchestra. Hungarian violinist and composer Zoltán Székely (1903-2001) transcribed these six short movements for violin and piano in 1926, which are offered here in this reprint edition. Movements: 1. Joc cu bâta (Stick Dance), 2. Brâul (Sash Dance), 3. Topogó / Pê-loc (In One Spot), 4. Bucsumí tánc / Buciumeana (Dance from Bucsum), 5. Poarga româneasca (Romanian Polka), 6. Aprózó / Maruntel (Fast Dance).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: PR.11440561S

UPC: 680160009039.

The three movements examine the same materials from different points of view; in the first, the ideas are chronologically separated, but they alternate and develop through the instruments in an intensifying way that generates a rather imposing and grandiose rhetoric. The second, with its hypnoti, incessant reiterations at maximum volume of a simultaneous combination of motives of different l lengths and shapes, ends just short of becoming unbearable... In the last movement the flute, clarinet and violin slowly unfold a continuous texture that combines several of the earlier elements, while the piano softly interjects the echo of its first movement triplets.

SKU: HL.49018895