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.

SKU: BT.DHP-0991548-060

English-German-French- Dutch.

These four dances are written in a kind of neo renaissance style. Because of the fact that little technical demands are required from its performing artists, these dances are mainly meant for beginning groups, youth ensembles and also for orchestras in all kinds of small strengths. Jan Van der Roost originally had pedagogical intentions with this piece. Myriam Mees arranged Four Old Dances with the same intention for accordion orchestra with electronium and percussion ad libitum.

Deze vier dansen zijn geschreven in een soort neorenaissancestijl. Gezien de geringe technische eisen die aan de uitvoerders gesteld worden, richten deze dansjes zich vooral op beginnende groepen, jeugdensembles en ook op allerhandekleine bezettingen. Jan Van der Roost had in eerste instantie pedagogische bedoelingen. Myriam Mees arrangeerde Four Old Dances met dezelfde intentie voor accordeonorkest met electronium en percussie ad libitum.

Diese vier Tänze sind in einer Art Neorenaissance-Stil geschrieben. Da sie in technischer Hinsicht keine großen Anforderungen an die Ausführenden stellen, sind sie für Anfängerensembles, Jugendorchester und alle zahlenmäßig kleinen Orchester besonders gut geeignet.

Four Old Dances est une suite de quatre danses originales composées dans le style de la musique de la Renaissance. Simples de structure et accessibles aux Orchestres Juniors, ces quatre danses ont été arrangées pour Orchestre d’Accordéons par Myriam Mees. L’instrumentation est quatre voix avec partie de clavier électronique / synthétiseur ad lib. et partie optionnelle de percussion.

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: BR.KM-2504

World premiere: Leuven (TRANSIT Festival), October 29, 2006

ISBN 9790004502846. 10.5 x 14 inches.

Silver Silence wurde im Auftrag des TRANSIT Festivals Leuven (Belgien) komponiert. Silence bei Altmeister Cage signalisiert das Aufgeben jeglicher Absicht. Da kann die Musik schweigen und alles andere Horbare in diese ,,veranstaltete Zeit hinein lassen. Da kann aber auch unendliche Vervielfaltigung von Musik und damit von Intentionen die gewunschte Intentionslosigkeit erreichen. Das notige Anfang- und Ende-Setzen hat dabei immer noch werkartige Reste. Nono uberwolbt Schweigen mit riesigen Fermatenturmen, um Zeit ins Werk konzeptionell als Freiheit zu setzen, in der man auf das Ungehorte oder auf das Unerhorte horchen soll, um seine eigenen Beschrankungen zerbrechen zu konnen - soziale, menschliche Impulse, Naturentdeckungen, Farben, Wege ... In ,,Covered with music und in ,,Solo mit Koonstuck habe ich versucht, nicht das Schweigen, sondern das Lautlose in die Musik zu integrieren. In ,,Silver Silence ist Schweigen nicht nur silbrig, sondern wie Silber oft ist - dunkel, braunschwarz. Ich hatte in diesem Stuck von Anfang an ein insistierendes Tempo von Viertel = 138. Diese Zahl untersuchend kam ich auf 69 und 23 (6 x 23 = 138), die Zahl Alban Bergs, des Komponisten grandioser Stillen im ,,Wozzeck. 77 x 23 (plus 1 Viertel) ist denn auch die Zeitstruktur, die dem Stuck zugrunde liegt. Die Ereignisse schwimmen in diesen Zeitklammern und halten sich am Ende fast ganz aus ihnen heraus. Silence wurde fur mich zum interessanteren Wahrnehmen von Zeitverknupfungen. Es gibt eine einzige Stelle exakter TRIO-Synchronitat, daneben eine einzige Stelle genauer Streichersynchronitat und die ins silbrige Schweigen hinubergleitenden Teilsynchronitaten, Verwacklungen, blockartigen Solos der einzelnen Instrumente, Verlassen der instrumentalen Tonpositionen usw. ,,Silver Silence ist also eine Hor- und Auffassungseinstellung fur die zeitlichen und musikalischen Neins im Makrobereich. Und beim Komponieren hatte ich oft den Eindruck, sie wurden verwundert mit den Achseln zucken uber die Arten der Jas und ihnen das Silberdunkel dringend empfehlen. Wie schreibt der Brockhaus: Silber ist weicher als Kupfer und harter als Gold. Von allen Metallen leitet es Elektrizitat und Warme am besten, ist in der Luft bestandig, bester Reflektor fur sichtbares und infrarotes Licht ... Da kommt auch Silence manchmal ins Schwitzen!!! Nicolaus A. Huber (Mai 2006)

World premiere: Leuven (TRANSIT Festival), October 29, 2006.