Composed by Bela Bartok (1881-1945), edited by Dr Benjamin Suchoff. For piano. The Archive Edition. Format: piano solo book. With standard notation, fingerings and introductory text. 20th Century and Hungarian. 150 pages. 9x12 inches. Published by Dover Publications.

2 Pianos, 4 Hands. By Bela Bartok. Arranged by Peter Bartok. (Piano). Boosey and Hawkes Piano. Book only. Size 9x12 inches. 90 pages. Published by Universal Edition.

Piano Solo. Composed by Bela Bartok (1881-1945). Edited by Laszlo Somfai. Arranged by Denes Varjon. Sheet music. Paperbound. Henle Music Folios. Classical. Softcover. G. Henle #HN1403. Published by G. Henle

By Bela Bartok. Arranged by James Ancona. Percussion Ensemble. For glockenspiel, 3 marimbas (low A), xylophone, crotales, 3 vibraphones, 5 timpani, large tam tam, chimes, 2 china cymbals, 18" suspended cymbal, 4 toms, wind gong, medium gong, 2 small gongs of different sizes, dark sus. Cym., bright sus. Cym., sizzle cym., snare drum, 2 small ZilBells, mounted ratchet. (8 players). Level: Advanced. Score and parts. Duration 4:00. Published by Tapspace Publications.

Arabian, Hungarian, Romanian, Ruthenian, Serbian, and Slovak Melodies. Composed by Vera Lampert. Book. Hardcover. Henle Music Folios. With CD (MP3 files) of all available original phonograph recordings by Bela Bartok. Classical Reference, Folk Reference, Music Appreciation. Book (hardcover). 242 pages. G. Henle #HN2617. Published by G. Henle

Piano. Composed by Bela Bartok (1881-1945). Edited by Laszlo Somfai. Sheet music. Henle Music Folios. Classical. Softcover. Op. 20. G. Henle #HN1405. Published by G. Henle

Composed by Bela Bartok (1881-1945) and Sándor Reschofsky. EMB. Softcover. 136 pages. Editio Musica Budapest #Z15072. Published by Editio Musica Budapest

Mixed choir

SKU: FG.042-08702-2

Composed by Erik Valdemar Bergman. Published by Fennica Gehrman (FG.042-08702-2).

ISBN 979-0-042-08702-2.

This work was commissioned by the Hungarian Radio for a concert expressly in memory of Bela Bartok. The composer's name was an inspiration and, through the notes B (flat), E and A along with their transpositions, lies at the basis of the work. Ever-present is the spirit of Bartok himself: a composer who oscillated between the quest for the original wellspring of music on the one hand and sophisticated refinement on the other.

By Bela Bartok. EMB. Size 9x12 inches. 20 pages. Published by Editio Musica Budapest.

SKU: M7.BH-7300068

Edited by Peter Wastall. 2 CDs. Begleit CD mit Backing Tracks und Ãœbungen. MDS (Music Distribution Services) #BH 7300068. Published by MDS (Music Distribution Services) (M7.BH-7300068).

ISBN 9790060095948. UPC: 073999238457. English.

The award winning wind and brass tutor series. Learn As You Play provides everything you need from the first lesson up to grade three. A well structured course of exercises, studies and pieces ensures a good grounding in technique and musicianship. Also available in Dutch, French, German and Spanish language editions.

By Bela Bartok. Arranged by Endre Szervansky. EMB. Size 9x12 inches. 29 pages. Published by Editio Musica Budapest.

Violin Duet. By Bela Bartok. Arranged by Endre Szervansky. EMB. Size 9x12 inches. 16 pages. Published by Editio Musica Budapest.

The Bartok Performing Editions. Composed by Domenico Scarlatti (1685- 1757). Arranged by Bela Bartok. EMB. Classical. Softcover. 48 pages. Editio Musica Budapest #Z15083. Published by Editio Musica Budapest

Volume 1: Nos. 1-36. Composed by Bela Bartok (1881-1945). Edited by Nicholas Hopkins. Arranged by Nicholas Hopkins. Contemporary. Solo part. With Standard notation. Sz. 107. 28 pages. Carl Fischer #PL01048. Published by Carl Fischer (CF.PL1048).

Two Pianos, Four Hands. By Bela Bartok. (Piano). Boosey and Hawkes Piano. Book only. 90 pages. Published by Boosey and Hawkes.

Composed by Bela Bartok (1881-1945). Edited by Laszlo Somfai. Henle Music Folios. Classical. Softcover. 32 pages. G. Henle #HN1412. Published by G. Henle

Music teaching

SKU: LM.26643D

Composed by Marguerite Labrousse. Method, studies. CD. Editions Henry Lemoine #26643D. Published by Editions Henry Lemoine (LM.26643D).

ISBN 9790231701791.

LIGE TI : 5 Bagatelles, Musica Ricercata - SCHUMANN : Nur wer die Sehnsucht Kennt - CHOPIN : Was ein junges Madchen liebt - WOLF : Mignon - BARTOK : Mikrokosmos - BIZET : L'abandonnee et Jeux d'enfants - MOZART : Concerto pour Flute et Harpe - DEBUSSY : Sonate pour Flute, Alto et Harpe.

Music teaching

SKU: LM.26643

Composed by Marguerite Labrousse. Method, studies. Score. Editions Henry Lemoine #26643. Published by Editions Henry Lemoine (LM.26643).

ISBN 9790230966436.

LIGE TI : 5 Bagatelles, Musica Ricercata - SCHUMANN : Nur wer die Sehnsucht Kennt - CHOPIN : Was ein junges Madchen liebt - WOLF : Mignon - BARTOK : Mikrokosmos - BIZET : L'abandonnee et Jeux d'enfants - MOZART : Concerto pour Flute et Harpe - DEBUSSY : Sonate pour Flute, Alto et Harpe.

Violin y 15 instrumentos de cuerdo (violin and 15 string instruments)

SKU: BO.B.3430

Composed by Xavier Benguerel. Instrumental Sets. Duration 20:00. Published by Editorial de Musica Boileau (BO.B.3430).

The Geminis Concertino was written in 2005 and dedicated to Gerard Claret and the National Chamber Orchestra of Andorra (ONCA).

The work, as its name implies, is a small-scale concerto for violin and 15 string instruments. Its score is basically a chamber piece in which the solo part never takes an overly virtuoso role. Conceived as a single movement, played without interruption, its internal construction consists of three classic sections: A, bars 1-72, B, bars 73-161, and C, from bar 162 to the end of the piece. Part B begins with the two opening measures of Bela Bartok's Violin Concerto simply as a reminder of a composer and a work that has impressed me since I was very young.I should confess that the entire Geminis Concertino has a certain Bartokian air that I attribute to the love I have always professed for this composer and that lately seems to affect me much as it did in my youth.
--The author. Barcelona, march 2006

Comentarios del Espanol: Concertino Geminis es una obra escrita el ano 2005, que dedique a Gerard Claret y a la Orquestra de Cambra de Andorra.

La obra, como su nombre indica, es un pequeno concierto para violin y 15 instrumentos de cuerda, sin que la parte solista tome nunca un papel excesivamente virtuosistico, ya que la partitura tiene un caracter eminentemente cameristico. Concebida en un solo tiempo y, por lo tanto, interpretada sin interrupcion, su construccion interna la constituyen los tres movimientos clasicos: A, del compas 1 al 72; B, del compas 73 al 161; y C, del compas 162 al final. La parte B comienza con los dos primeros compases del Concierto para violin de Bela Bartok, simplemente como recuerdo de un compositor y de una obra que, ya desde muy joven, me impresionaron.

Debo confesar que entiendo que todo el Concertino Geminis adquiere un cierto aire bartokiano, que atribuyo al amor que siempre he profesado por ese autor y que ultimamente vuelve a estar presente, igual como lo estuvo en mi juventud.
--El autor. Barcelona, marzo de 2006

Composed by Gyorgy Ligeti (1923-2006). Edited by Monika Lichtenfeld. This edition: 2 volumes; hardcover with dustjacket. Books / Librettos. Publications from the Paul Sacher Foundation Band 10. Die erste umfassende Schriftenausgabe des bedeutenden ungarischen Komponisten. Text Language: German. 876 pages. Published by Paul Sacher Stiftung

Symphonic Works (Study Score)

SKU: HL.50510054

Score. Composed by Bé, k, and la Bartó. 20th Century. EMB. Pocket score. Op. 10. 64 pages. Editio Musica Budapest #Z40056. Published by Editio Musica Budapest (HL.50510054).

ISBN 9790080400562. UPC: 073999670943. 5.75x8.0x0.221 inches. Bela Bartok.

'Composed in 1910, Bartok's 'Two Pictures' for orchestra, too, draws on Debussy and folk music. Indeed, the title itself is a reference to Debussy's famous piano cycle, 'Images'. The two movements, 'In Full Flower' and 'Village Dance' represent two Bartokian movement types. The first one is the delicate and intimate music of nature. Debussy's influence is most tangible here. The second movement, 'Village Dance' is only related to the previous movement through its tonal system. It is, rather, a sort of 'bone and muscle' music that belongs to the barbaro type of movements, and as such, consists of possibly the simplest elements. Long sections consist of the continual repetition of a primitive motif. The work was first performed three years after its completion, on 25 February 1913, by the Budapest Philhamonic Orchestra, under the baton of Istvan Kerner.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).

Basso (cello/double bass) (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.EOS-8063-26

Hail! Bright Cecilia. Composed by Henry Purcell. Stapled. Eulenburg Orchestral Series. Renaissance/early Baroque; Baroque. Part. 20 pages. Duration 60'. Breitkopf and Haertel #EOS 8063-26. Published by Breitkopf and Haertel (BR.EOS-8063-26).

ISBN 9790004789810. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.ED-10296

Hail! Bright Cecilia. Composed by Henry Purcell. Edited by Christopher Hogwood. Choir; stapled. Renaissance/early Baroque; Baroque. Piano/Vocal Score. 80 pages. Duration 60'. Breitkopf and Haertel #ED 10296. Published by Breitkopf and Haertel (BR.ED-10296).

ISBN 9790220101977. 7.5 x 11 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Woodwinds (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.EOS-8063-30

Hail! Bright Cecilia. Composed by Henry Purcell. Stapled. Eulenburg Orchestral Series. Renaissance/early Baroque; Baroque. Set of parts. 40 pages. Duration 60'. Breitkopf and Haertel #EOS 8063-30. Published by Breitkopf and Haertel (BR.EOS-8063-30).

ISBN 9790004789827. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.ED-12658

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; Softbound. Mass; Requiem; Baroque. Piano/Vocal Score. 70 pages. Duration 55'. Breitkopf and Haertel #ED 12658. Published by Breitkopf and Haertel (BR.ED-12658).

ISBN 9790220121760. 7.5 x 11 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).