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 didnt know that the spiral notebook I received at the premi?re 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 worlds 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 Kurtágs workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtágs handwriting about the composers 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 Kocsiss own personal preface, as well as András Wilheims 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. This edition has been published for György Kurtágs 90th birthday. (Tünde Szitha) / Piano

Memorable tribute from one musical genius to another, reproduced from authoritative editions, reveals Liszt's remarkable capacity for translating orchestral effects into pianistic terms. An astonishing, brilliant, and sensitive tribute to the master by the 19th-century's greatest piano virtuoso. Content :
Preface: Liszt's handwritten note
Preface: English translation
Introduction
Glossary
Symphony No. 1 in C Major, Op. 21
I. Adagio molto-Allegro con brio
II. Andante cantabile con moto
III. Menuetto: Allegro molto e vivace
IV. Adagio-Allegro molto vivace
Symphony No. 2 in D Major, Op. 36
I. Adagio molto-Allegro con brio
II. Larghetto
III. Scherzo: Allegro
IV. Allegro molto
Symphony No. 3 in E-flat Major ( Eroica ), Op. 55
I. Allego con brio
II. Marche funèbre: Adagio assai
III. Scherzo: Allegro vivace
IV. Finale: Allegro molto
Symphony No. 4 in B-flat Major, Op. 60
I. Adagio-Allegro vivace
II. Adagio
III. Allegro vivace
IV. Allegro, ma non troppo
Symphony No. 5 in C Minor, Op. 67
I. Allegro con brio
II. Andante con moto
III. Scherzo: Allegro
IV. Allegro

Since the 1980s scholarly research into Reger has built up a picture of the diversity, complexity and variety of Reger's work and shown that the composer was the first to depart from the supposed logical evolution of music history. In the musical scene, on the other hand, ideas prevail that are clichéd and based on a small canon of works. This is now about to change.Since the beginning of the twenty-first century a thematic catalogue of the works of Max Reger and their sources has been put together in the Max-Reger-Institut Karlsruhe funded by the Deutsche Forschungsgemeinschaft. This will be a fitting addition to our series of thematic catalogues of the works of Beethoven, Brahms, Chopin and Schumann. It contains in-depth information in a readable form on the complete original works and arrangements, both published and unpublished, completed or fragmentary. Information concerning the genesis, place and state of the handwritten and printed sources are presented comprehensively and reflect the current state of research. Thus not only scholars but also performers, music lovers and concert organizers will be able to get to know Reger's neglected but in many ways surprising works.Numerous indexes will make the Reger Thematic Catalogue easy and clear to use and it has all of the prerequisites to soon become the definitive reference work for Max Reger. / Orchestre

Terry Riley, most commonly associated with the minimalist and experimental schools of music, draws influence from a vast number of sources, including jazz and Indian classical music. In turn, his influence on contemporary composers and music in general is enormous, and with this collection of his Piano Works, you can learn a selection of his fascinating, hypnotic and simply stunning compositions for solo Piano.As one of the founders of western music's minimalist movement, Riley's works have been acclaimed as forays into ever-expanding loops of rhythm and melody, music that, instead of being listened to, immerses and envelops you. His early works, such as 'In C', spearheaded this innovative idea, beginning a career unmatched by other avant-garde composers. With The Piano Works, this collection of Terry Riley sheet music finally brings together some of his best-loved and most acclaimed works for solo Piano, like The Philosopher's Hand and Two Pieces For Piano.Featuring an extensive foreword by Terry Riley himself, this is not just a collection of sheet music, it's almost a work of art: a brilliant publication featuring some beautifully engraved music along with words by a genius composer. Riley gives a vast amount of fascinating biographical and compositional information about his included Piano Works, such as Keyboard Study #1 and #2, Be Kind To One Another (Rag) and The Heaven Ladder Book 7. At times humourous and always eloquent, his foreword tells the story of this composer's journey from humble Piano lessons to masterpieces and an unfathomable influence, it's just great. Finally, at the end of the book, a selection of facsimiles of Riley's own handwritten scores is included, letting you see what the music looks like from the man's own hand.As well as the foreword, there are introductory performance notes for each piece by pianist Sarah Cahill. These expound the techniques, skills and experience necessary to master each piece, but also simply provide some interesting reading before delving into the harmonic and rhythmic rabbit-hole that is Riley's Piano Works. Aside from the theoretical and academic joy that Terry Riley's music affords, the most immediate pleasure is the universal aesthetic beauty of the sounds that will emanate from your Piano as you play these wonderfully whirling and dynamic compositions.As a collection of sheet music, Terry Riley's Piano Works would make a wonderful addition to your music stand. As a book that will bring endless enjoyment to fans not just of Riley himself, but music in general, the foreword and performance notes combined with the magical music make a fantastic edition of a true master's masterpieces. / Piano

12 Concertos For Violin, Strings And Basso Continuo. Par VIVALDI ANTONIO. Antonio Vivaldi's twelve concertos op. 4 known by the name of 'La Stravaganza” were first mentioned as a collection of 'Concerti a 4” in the 1711 Foreword of 'L'Estro Armonico” op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, 'La Stravaganza” is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7). The many reprints of 'La Stravaganza” bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel. This edition of 'La Stravaganza” is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2)./ Répertoire / Violon, Cordes et Basse Continue

Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduke? Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its première together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven?s last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today it numbers among his most celebrated pieces of chamber music, not least because of its remarkable melodiousness ? a feature typical of Beethoven?s music from these years ? and its spacious formal design. Jonathan Del Mar?s new critical edition of the Trio draws not only on early prints but also on various handwritten sources. A detailed introduction by Misha Donat is devoted to the work?s historical contexts. - Urtext edition of Beethoven?s most famous piano trio - Detailed introduction (Eng/Ger), editor?s foreword (Eng/Ger) and Critical Commentary (Eng) / Date parution : 2022-11-29/ Répertoire / Violon, Violoncelle et Piano