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Gitarrenschule III

Gitarrenschule III

This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor.We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods.

SEK 256.00
1

Gitarrenschule II

Gitarrenschule II

This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor.We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods. In volumes Iand II of the tutor we have given Hungarian folk songs and children's songs a significant amount of space. In the course of revision, we have expanded the material of these two volumes with simple arrangements of folk songs, nursery rhymes and flower songs, and we have provided very easy, but valuable material for instrumental study in particular for children aged between 6 and 10. We have also expanded the chamber music material to be found at the end of the volumes, because we believe that playing music together is the best way to make instrumental study a lasting experience for our students. The parts are relatively simple, so the works provide a musical experience almost immediately.

SEK 236.00
1

Gitarrenschule I : Gitariskola - Guitar Tutor

Gitarrenschule I : Gitariskola - Guitar Tutor

This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor.We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods. In volumes Iand II of the tutor we have given Hungarian folk songs and children's songs a significant amount of space. In the course of revision, we have expanded the material of these two volumes with simple arrangements of folk songs, nursery rhymes and flower songs, and we have provided very easy, but valuable material for instrumental study in particular for children aged between 6 and 10. We have also expanded the chamber music material to be found at the end of the volumes, because we believe that playing music together is the best way to make instrumental study a lasting experience for our students. The parts are relatively simple, so the works provide a musical experience almost immediately.

SEK 236.00
1

Gitarrenschule V

Gitarrenschule V

Since March 2018 volumes I, II, III, and V of this five-volume Guitar Tutor have been completely revised. In the decades since its first edition, the musical interests of students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor. We have increased the number of recital pieces at all levels of difficulty, so that students can spend longer on a varied repertoire at their respective level.We have determined the works in the volume V which demand a more developed technique and musicality to extend the repertoire of those who wish to study further. The transcription of lute workshas sometimes made significant compromises necessary. However, in our view, it is a significant gain that students can get to know a Dowland fantasy or an early English Baroque set of variations. This volume comprises 45 concert pieces from the early 17th to the 20th centuries, 18 advanced-level studies by Carcassi, Coste, Giuliani, and Sor, as well as several advanced-level technical exercises. Besides original works by Giuliani, Sor, Tarrega, and others, it features several transcriptions of works by Dowland, Rameau, J. S. Bach, and D. Scarlatti.

SEK 256.00
1

12 Sonate op. 2 Vol. 2 : for Flute and Basso continuo, nos. 7 - 12

12 Sonate op. 2 Vol. 2 : for Flute and Basso continuo, nos. 7 - 12

An ABRSM syllabus title, 2014-17, Grade 4. Benedetto Marcello (1686-1739) published his flute sonatas Op. 2 in 1712 in venice. This was the first printed sheet music in italy to prescribe explicity and exclusively the use of tfe flauto. Marcello may have modelled his work on the sonata-cycle op. 5 by Corelli, which appeared in 1700. In this cycle Corelli summed up the possibilities of violin technique and the related compositional technique of his age. For his part, Marcello did the same for flautists. The flute sonatas soon became popular and have remained so ever since: three different editions have survived from the 18th century. The present edition (Z. 13476, Z. 13477) wasproduced by collating the three 18th-century sources.

SEK 276.00
1

12 Sonate op. 2 Vol. 1 : for Flute and Basso continuo, nos. 1 - 6

12 Sonate op. 2 Vol. 1 : for Flute and Basso continuo, nos. 1 - 6

An ABRSM syllabus title, 2014-21, Grade 5-6. Benedetto Marcello (1686-1739) published his flute sonatas Op. 2 in 1712 in venice. This was the first printed sheet music in italy to prescribe explicity and exclusively the use of tfe flauto. Marcello may have modelled his work on the sonata-cycle op. 5 by Corelli, which appeared in 1700. In this cycle Corelli summed up the possibilities of violin technique and the related compositional technique of his age. For his part, Marcello did the same for flautists. The flute sonatas soon became popular and have remained so ever since: three different editions have survived from the 18th century. The present edition (Z. 13476, Z. 13477) wasproduced by collating the three 18th-century sources.

SEK 256.00
1

Trompetenschule I

Trompetenschule I

The first volume of the present trumpet tutor comprises the teaching material for the preparatory and first grades of the music schools. It consists of two parts: in the first pupils learn the range of sound prescribed in the curriculum whereas in the second they continuously acquire the prescribed scales and rhythm formulae. Since musical training is laid special emphasis on, only children's songs, folk-songs and some pieces of art music have been included, i.e. whenever possible melodies that pupils have already come to learn previously at school apart from the explicitly functional studies.

SEK 236.00
1

Violinschule III-IV

Violinschule III-IV

László Dénes work as a violin teacher and music pedagogue has been well-known for decades both within Hungary and around the world. Violin teachers have used both his scores and pedagogical insights for generations. As a result of Dénes expert instruction, many of his pupils have gone on to pursue their own successful careers as performers and educators.In 1966, this Violin Tutor was first published as a result of László Dénes work and cooperation with 3 of his exceptional colleagues. To mark the occasion of the 50th anniversary of its publication, a renewed edition was created and printed.

SEK 256.00
1

Violinschule II

Violinschule II

László Dénes work as a violin teacher and music pedagogue has been well-known for decades both within Hungary and around the world. Violin teachers have used both his scores and pedagogical insights for generations. As a result of Dénes expert instruction, many of his pupils have gone on to pursue their own successful careers as performers and educators.In 1966, this Violin Tutor was first published as a result of László Dénes work and cooperation with 3 of his exceptional colleagues. To mark the occasion of the 50th anniversary of its publication, a renewed edition was created and printed.

SEK 256.00
1

Violinschule I

Violinschule I

László Dénes work as a violin teacher and music pedagogue has been well-known for decades both within Hungary and around the world. Violin teachers have used both his scores and pedagogical insights for generations. As a result of Dénes expert instruction, many of his pupils have gone on to pursue their own successful careers as performers and educators.In 1966, this Violin Tutor was first published as a result of László Dénes work and cooperation with 3 of his exceptional colleagues. To mark the occasion of the 50th anniversary of its publication, a renewed edition was created and printed.

SEK 246.00
1

Violinschule V-VI

Violinschule V-VI

László Dénes work as a violin teacher and music pedagogue has been well-known for decades both within Hungary and around the world. Violin teachers have used both his scores and pedagogical insights for generations. As a result of Dénes expert instruction, many of his pupils have gone on to pursue their own successful careers as performers and educators.In 1966, this Violin Tutor was first published as a result of László Dénes work and cooperation with 3 of his exceptional colleagues. To mark the occasion of the 50th anniversary of its publication, a renewed edition was created and printed.

SEK 256.00
1

Joyance - for Saint Julius Hydrophilos for picco : for Saint Julius Hydrophilos for piccolo-flute, harp and string trio

Joyance - for Saint Julius Hydrophilos for picco : for Saint Julius Hydrophilos for piccolo-flute, harp and string trio

In this piece the musicians have not only instrumental but also acting roles. They have to walk about the performing area in accordance with a specific plan, while uttering words and sentences taken from James Joyce's novel Finnegans Wake. The theoretical background to this use of the text is provided by the general container-function theory developed by the British psychoanalyst Wilfred Bion. This theory also determines all the parameters of the music as well. Assistance in working out the harp part was provided by harpist Sarah O?Brian, who was the soloist at the premi?re of the work in Germany in 1999.

SEK 256.00
1

Music With Chequered Ears

Music With Chequered Ears

Television viewers of nearly a hundred countries have experienced Árpád Balázs's touching melodies. The series of cartoons have neither dialogue nor text: the music presents the amiable and entertaining adventures of the rabbit with chequered ears and its friends. Balázs has rephrased and developed the well-known melodies and as a result a ''children's story symphony'' of seven movements has been created in which, in contrast with Prokofiev's Peter and the Wolf, there is no narrator but the instruments themselves represent the story-tellers. The composer has again associated the groups of instruments with one another in a colourful and varied manner, skilfully alternating themodes of solo, chamber orchestra and orchestra.

SEK 1624.00
1

Music With Chequered Ears

Music With Chequered Ears

Television viewers of nearly a hundred countries have experienced Árpád Balázs's touching melodies. The series of cartoons have neither dialogue nor text: the music presents the amiable and entertaining adventures of the rabbit with chequered ears and its friends. Balázs has rephrased and developed the well-known melodies and as a result a ''children's story symphony'' of seven movements has been created in which, in contrast with Prokofiev's Peter and the Wolf, there is no narrator but the instruments themselves represent the story-tellers. The composer has again associated the groups of instruments with one another in a colourful and varied manner, skilfully alternating themodes of solo, chamber orchestra and orchestra.

SEK 216.00
1

Fantasie op. post., R.6 über Themen aus Mozarts F : über Themen aus Mozarts Figaro und Don Giovanni - Erstausgabe

Fantasie op. post., R.6 über Themen aus Mozarts F : über Themen aus Mozarts Figaro und Don Giovanni - Erstausgabe

Ferenc Liszt composed his Fantasy on themes from Mozart's two masterly operas Le nozze di Figaro and Don Giovanni by the end of 1842 or the beginning of January 1843 at the latest on the evidence that he played the piece in Berlin on 11th January 1843. The piece was not quite finished in manuscript, but the lacunae-the end of a brief transition in the closing section (bars 574-576) and the end of the work (bars 602-616)-are so insignificant that he probably tried out an improvised solution in performance. For reasons which have not come down to us Liszt never finished the manuscript and he does not seem to have played the work again.

SEK 226.00
1

Etüden für Oboe

Etüden für Oboe

Joseph Sellner (1787-1843) was a famous oboe player of his time… In 1825 Sellner published an oboe tutor in three volumes entitled Theoretisch-Praktische Oboen-Schule. Irrespective of the fact that the instrument has undergone considerable changes and improvements since his time, the majority of Sellner's work has still retained its usefulness to this day. His studies provide valuable help for achieving smooth technique and tone-colour, especially at the level of beginners. The obsolete two-part exercises and interval studies written for the instrument of his time have been omitted in this volume. The studies have been arranged here, as opposed to the original sequence,according to the increasing order of key signatures.' Péter Pongrácz

SEK 206.00
1