Arrangeur: Z. Veres. Par VERES ZOLTAN. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé La Furstenberg de Veres Zoltàn qui a été composé pour Alto / Niveau : 2ème Cycle / Répertoire / 2 Altos

Par VERES ZOLTAN. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Chromatisme crânien / Tes tons / Marions de Veres Zoltàn qui a été composé pour Violon / Niveau : 1er Cycle / Répertoire / Violon et Piano

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano

La plupart des compositions pédagogiques de Zoltán Kodály (1882-1967) sont écrites pour voix. Certaines collections de piano, qui utilisent les touches noires de l'instrument pour attirer l'attention des apprenants en musique sur les diverses possibilités de la gamme pentatonique, peuvent être considérées comme des exceptions. Le premier d'entre eux est le cycle de douze pièces Danses pour enfants, qui remonte à 1945 et répond aux besoins des pianistes avancés, pas des débutants. Ses mélodies reflètent les caractéristiques des airs de danse folklorique hongroise, tandis que leur cadre évoque même le son d'instruments folkloriques originaux couramment utilisés pour l'accompagnement. Vilmos Bántai et Éva Bántai-Sipos ont sélectionné huit des Danses pour enfants à transcrire pour flûte et piano. Dans ces transcriptions, recommandées aux élèves des écoles de musique, la gamme originale mi bémol-sol bémol-a bémol-si bémol-ré bémol est toujours transposée en tonalités plus faciles à lire. Dans le cas de deux pièces, deux transpositions différentes (l'une étant très facile à jouer et l'autre plus difficile) sont même proposées. La flûte est sans aucun doute présentée comme un instrument mélodique dans ces pièces, tandis que le piano joue parfois un rôle de soutien et partage parfois un statut égal avec la flûte. / Partitions classique / Bois / Flûte traversière / EMB (Editio Musica Budapest)

Par BARTOK BELA. Béla Bartók’s “For Children” is one of the best known pedagogical works for piano teachers of the twentieth century, second only perhaps to the same composer’s “Mikrokosmos”. It was based firmly on the huge number of folk songs he collected, recorded and studied with his colleague Zoltán Kodály. At the time, Bartók was offering something very new to piano teachers and their students. Siegfried Steinkogler became acquainted with “For Children” at the beginning of his guitar studies and, from them, learnt a great deal about melody and harmonisation. He has chosen 38 of the original 79 pieces to offer in arrangements for the guitar. They are presented with helpful fingerings, technical solutions and aids to familiarize the younger students with common notations. For beginners, ten of the pieces are played exclusively in the first position before a gently increasing level of difficulty helps the player broaden their skills. In these arrangements, Bartók’s ingenious teaching pieces will be as invaluable to guitarists as they have been to your pianists for over one hundred years./ Répertoire / 2 Guitares

Par VERDI GIUSEPPE. Volta La Terrea Fronte Alle Stelle is a solo aria from the opera Un Ballo In Maschera (A Masked Ball). It is presented here for solo Soprano Voice with Piano accompaniment in standard notation with added chord symbols. Scribe's libretto to Verdi's 'A Masked Ball' concerns the real-life assassination of King Gustave III of Sweden at a masked ball in 1792, but adds a love story to what was probably a political murder. The King, Ricardo, is in love with Amelia, wife of his friend Renato. Renato warns the King to beware a plot to kill him. The King visits Ulrica the mystic, and she says he will die by the next friendly hand he shakes. The plot develops, and ends with anexploration of the concepts of innocence and remorse. Volta La Terrea Fronte Alle Stelle is a solo aria from the opera Un Ballo In Maschera (A Masked Ball). It is presented here for solo Soprano Voice with Piano accompaniment in standard notation with added chord symbols. Scribe's libretto to Verdi's 'A Masked Ball' concerns the real-life assassination of King Gustave III of Sweden at a masked ball in 1792, but adds a love story to what was probably a political murder. The King, Ricardo, is in love with Amelia, wife of his friend Renato. Renato warns the King to beware a plot to kill him. The King visits Ulrica the mystic, and she says he will die by the next friendly hand he shakes. The plotdevelops, and ends with an exploration of the concepts of innocence and remorse. / Opéra-opérette / Répertoire / Chant et Piano

The original Einaudi pieces featured in this 64-page collection have been selected for their simplicity and ease of playing.Over the years the distinguished Italian pianist and composer has worked in many different styles, some of them quite challenging for the beginning player. Now pianists at a Grade 2 to 4 level can play some of his most memorable works in their original form.This book includes the pieces Corale, Primavera, Questa Volta, Sarabande and more. / Piano

Orchestre a Cordes + Partie Opt. De Violon Iii. Par VERES ZOLTAN. / Niveau : 1er Cycle / Répertoire / Orchestre à Cordes

140 Melodie Ciuvascie. Par KODALY ZOLTAN. Classical / Pédagogie / Méthode / Opéra Théorique ou Didactique