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Ruralia Hungarica op. 32-c

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi’s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi’s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).

Ruralia Hungarica op. 32-d

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi’s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi’s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d). (Hungaroton HCD 31835)

Ruralia Hungarica

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnányi s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pécs (South Hungary). Ruralia Hungarica was one of Dohnányi s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).

Klaviersonaten in Einzelausgaben op.13 op. 13 c-M : op. 13 c-Moll, Pathétique'

Klavierkonzert C-Dur

Requiem in C

Altfurulya-Kaleidoszkop : C: Duok

Fantasie in C-Dur

Konzert C-Dur (Ignaz Pleyel) : für Violoncello oder Flöte oder Klarinette und Orchester

Ignaz Joseph Pleyel (1757-1831), a pupil of Haydn whom the master loved as his own son, composed his Concerto in C major in the late 18th century in three versions: for cello, flute and clarinet. In these three pieces only the orchestral accompaniment is identical, the solo parts were elaborated according to the capabilities of the instrument in each case. Thus the composer created three versions of the same work which are of equal value. An examination of the orchestral material renders it probable that first the cello version was completed, while the first to be printed, presumably in 1797 by Falter in Munich, was the clarinet version. The composer published the three versionssimultaneously in 1799 in his own edition. The work must have been very popular in Pleyel's time which is also shown by the fact that it was printed by ten publishers. Territorial restrictions may apply. Please ask before ordering.

32 etudes op.48

Sonate C-Dur op. 22

Sonatine, C-Dur No.1

Klavierkonzert C-Dur KV 503

Sinfonie Nr. 1 C-Dur

Fantázia és szonáta, c-moll

32 Etueden Op 48-1

32 Etueden Op 48-4

Lebenslauf Op 32 : in Preparation

The work was composed in 1992 for the 85th birthday of Kurtág's teacher, Sándor Veress. The ensemble of instruments is unusual: two basset horns and two quarter-tone pianos (the well-known predecessor of the latter is Charles Ives' Three Quarter-Tone Pieces for two pianos). The special tuning in this case is not that the tonality moves in an ultra-chromatic direction, rather that it makes the contours more nebulous, somewhat incomprehensible and dreamlike, and especially that the two wind instruments align themselves with the normal pitch of the piano.

Ruralia Hungarica op. 32-a

Recorder-ABC : For C descant recorder

This systematically constructed tutor was written for the soprano recorder with so-called English (Baroque) fingering. It contains material for the first two or three years of study, offering a selection from 600 years of music literature. It also teaches the basics of articulation technique. The volume includes pieces with piano or cembalo accompaniment, and in addition a musical mini-lexicon. The textual instructions are supplied in three languages: German, English and Hungarian.

Sonata C-Dur KV 285-b

Invenzioni sul B-A-C-H

Recorder Concerto In C Minor RV 441 : per flauto, archi e cembalo RV 441 (F.VI. No. 11, P.V. 440)

An ABRSM syllabus title.The source of the present edition of the Recorder Concerto in C minor by Antonio Vivaldi is the Collected Works of Vivaldi edited by Malipiero, published by Ricordi 1953. The title of the original score is "Concerto in Do minore per flauto, archi e cembalo": the original setting: Flauto, Violini I-II, Viole, Violoncelli, Contrabassi and Cembalo. The arrangement for recorder and piano is kept in accurate conformity with the musical text of the score: the continuo part, however, has been more freely adapted (of course within the possibilities of baroque style). In contrast to previous arrangements, the piano part contains the entire orchestral material in theTuttis, thus the soloist is not obliged to play all the Tutti parts. However, in Movement I and III the first and last Tutti may never be omitted by the performer.

12 Sonaten : für Blockflöte (oder Querflöte) und Basso continuo

The English flute virtuoso and composer Robert Valentine (c. 1680-c. 1735) lived in Rome, where also his major works appeared, and returned home only in 1731. His sonatas, among others the 12 sonatas published in this volume, were originally written for recorder. In the present-day practice they can be performed either on recorder or on flute.

Introduktion und Toccata über den Namen B-A-C-H : über den Namen B-A-C-H