SKU: BT.EMBZ15083

English-German-Hungarian.

Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that, in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or evenovershadow the works by the Mendelssohn-Schumann epigones used in primary and secondary music education. The present, single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and gives practical recommendations for the grouping of individual items to form charming sonatina-like sets of pieces.

Bartók spielte wahrscheinlich 1911 erstmals Werke von Domenico Scarlatti öffentlich und in den folgenden zwei Jahrzehnten ließ er sie an seinen Klavierabenden mehr als sechzig Mal erklingen. Seine Verbundenheit mit der italienischen und französischen Barockmusik beweist sich auch darin, dass er 1920 einen Vertrag mit dem Budapester Verlag Rozsnyai über die Herausgabe von sieben Heften mit Werken der Klaviermusik schloss. Geplant war, dass er das Material der Bände sowohl mit Werken Scarlattis als auch mit Kompositionen Couperins und Rameaus zusammenstellte. Im Laufe der 1920er-Jahre kam es schließlich zur Herausgabe einer Couperin-Auswahl in zwei Heften sowie - ebenso in zwei Heften - von zehn Scarlatti-Kompositionen. Mit der Veröffentlichung dieser Meisterwerke beabsichtigte Bartók in erster Linie, den Mendelssohn-Schumann-Epigonen bereits in der Musikausbildung in der Grund- und Mittelstufe entgegenwirken und ihre Werke in den Hintergrund treten zu lassen.

Die vorliegende Publikation versammelt in einem Band das Material der beiden mit Bartóks Vorwort, detaillierten Vortragsanweisungen und Anmerkungen erschienenen Scarlatti-Hefte. Der Herausgeber empfiehlt PianistInnen diese Kompositionen seit mindestens fünf Jahren zum Klavier spielen und gibt auch praktische Vorschläge dafür, wie man die einzelnen Stücke zu einem attraktiven Sonatina-artigen Ganzen gruppieren kann.

SKU: BR.DV-31105

For a successful approach to quartet playing

ISBN 9790200415810. 9 x 12 inches.

Making music in a quartet uniquely nurtures young string players' musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music's supreme discipline, as early as possible.

Indeed, composers have all along advised the classical string quartet's outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in.

The two volumes include

• A total of 20 easy to intermediate arrangements of pieces from Bach to Bartok, together with specifically composed ones in string-quartet friendly keys  
• Reading scores and individual parts
• additionally, individual part for violin III instead of viola
• Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically
• Specific instructions for the individual pieces
• Lists of supplementary original literature

The pieces are also effective as scored for chorus.

SKU: BR.DV-31106

For a successful approach to quartet playing

ISBN 9790200415827. 9 x 12 inches.

Making music in a quartet uniquely nurtures young string players' musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music's supreme discipline, as early as possible.

Indeed, composers have all along advised the classical string quartet's outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in.

The two volumes include

• A total of 20 easy to intermediate arrangements of pieces from Bach to Bartok, together with specifically composed ones in string-quartet friendly keys  
• Reading scores and individual parts
• additionally, individual part for violin III instead of viola
• Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically
• Specific instructions for the individual pieces
• Lists of supplementary original literature

The pieces are also effective as scored for chorus.