Editio Musica Budapest Catalogue 2020

NEW PUBLICATIONS 2020

2020

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1950

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ZENEMŰKIADÓ

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2020

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EDITIO MUSICA BUDAPEST

BUDAPEST B U D AEDITIO P E SMUSICA T

Distributed By / Im Vertrieb von

EDITIO MUSICA BUDAPEST

New Publications 2020 CONTENTS

Complete Editions . . . . . . . . 4 Piano / Harpsichord . . . . . . . 6 Guitar . . . . . . . . . . . . . . . . . . . . 11 Flute . . . . . . . . . . . . . . . . . . . . . 12 Chamber Music . . . . . . . . . . . . 14 Voice

. . . . . . . . . . . . . . . . . . . . 15

On the front cover : Prepared piano (2012) ; artwork and photo by Márton Barabás

Foreword

S

eventy years ago, in 1950, the Hungarian State Music Publisher was established as a result of the centralisation of all Hungarian music publishers that were in operation at the time.

From the very beginning, the publisher’s mission was double-sided: on the one hand, it was to maintain and handle the publishing of works by Hungarian composers. On the other hand, it strived to publish excellent pedagogical music publications.

Since the beginning of the 1960s, the State Music Publisher and its publications were known worldwide by the name Editio Musica Budapest (EMB). Since then, the works of Hungarian composers have become well-known across the globe. As a publisher, we are very happy and proud to have played a part in this success.

Since 2017, EMB’s work has been continued by its two legal successors. Universal Music Publishing Editio Musica Budapest Ltd. (UMPEMB) is responsible for the works of con­ tem­porary and 20th-century composers, whereas Editio Musica Budapest Zeneműkiadó Ltd. (EMBZ) oversees the pedagogical publications catalogue, non-copyrighted works, and complete critical editions. The publications of both publishers are produced by EMBZ and are distributed under the shared brand name Editio Musica Budapest. We are proud to present the fruits of both publishers’ labour from the past year in this 2020 New Publications Catalogue.

From the UMPEMB publications, we would like to highlight a new collection of piano pieces

by György Orbán entitled Veni Sol! This volume is intended for pianists who have already developed their playing to a more serious level of technical skills.

György Kurtág’s Signs, Games and Messages series, long-awaited amongst flautists, has now been published in a single volume with another of his works: Scenes Op. 39.

From the EMBZ pedagogical catalogue, the six-volume series entitled A Panorama of Songs deserves special attention. It serves to expand singers’ repertoire and also utilizes modern technology by providing online sound recordings and other useful material to help the learning process.

The Guide to Early Keyboard Music series demonstrates the beauty and variety of early keyboard music from different countries. It also shows pupils how to play in a stylisticallyappropriate way on both period and modern instruments.

The result of a sensational discovery in Liszt research was also published recently: the first edition of Sardanapalo, Act 1 (Fragment), the critical reconstruction of an opera by Liszt, has appeared within the New Liszt Complete Critical Edition.

In addition to the volumes mentioned above, numerous publications, both new and renewed, can be found within this catalogue. For further information, please visit our website at www.emb.hu.

László Sigrai and the EMBZ Team

Editio Musica Budapest

4

Choral Music

Béla Bartók Complete Critical Edition Volume 9

BÉLA BARTÓK

Choral Works Edited by Miklós SZABÓ in collaboration with László SOMFAI, Márton KERÉKFY, and Csilla Mária PINTÉR Although Bartók’s works for choir are not among his best-known compositions, they form an important part of his oeuvre. Between 1903 and 1935 Bartók wrote eight works for unaccompanied choir and one with piano accompaniment, totaling 56 (mostly short) movements. They are partly arrangements of Hungarian, Slovak, and Romanian folk songs, and partly settings of poetic and folklore texts.

This volume features the first printed editions of Two Romanian Folk Songs (1909?) that Bartók left behind as unedited drafts and the early version of Four Hungarian Folk Songs (1910, revised 1926).

In addition to the original words, this edition includes all translations approved by the composer as underlay. The original words and their literal English translations are presented side by side in the appendix.

The introductory essays in English, Hungarian, and German not only explore the genesis and reception of the works more thoroughly than ever before, but also orient the reader in issues of notation and performance. The critical commentary presents all manuscript and print sources of the works in detail (including folk music sources), it documents the compositional processes, and it surveys the range of textual variants and problems.

39

Magyar népdalok Hungarian Folk Songs · Ungarische Volkslieder vegyeskarra · for mixed voices · für gemischten Chor a cappella Original version with Hungarian words

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Voice and Piano New Liszt Complete Critical Edition, Series IX (Vocal works with orchestra or with several instruments)

Volume 2 FRANZ LISZT

Sardanapalo, Act 1 (Piano-vocal score, fragment) Edited by David TRIPPETT Libretto reconstructed by Marco BEGHELLI in collaboration with Francesca VELLA and David ROSEN In 1845, Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). He planned premieres variously for Milan, Vienna, Paris, and London, but he abandoned it half way through, and the music he completed has lain silently for 170 years.

He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music sketchbook. The libretto survived only as underlay in that sketchbook.

The manuscript was previously thought to be fragmentary and partially illegible, but it was reconstructed (and even orchestrated) by the musicologist David Trippett, Senior Lecturer at the University of Cambridge.

Sardanapalo is Liszt’s only mature opera. Its score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian.

This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.

[SARDANAPALO] [ATTO PRIMO] [Fragment – Töredék] [R 670, SW/SH 687, NG2 Q13]

[PRELUDIO] Cla[rinet]

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Editio Musica Budapest

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Piano

Urtext Editions based on the New Liszt Edition FRANZ LISZT

Les jeux d’eaux à la Villa d’Este Die Wasserspiele in der Villa d’Este Edited by Imre SULYOK and Imre MEZŐ Preface by Adrienne KACZMARCZYK From the autumn of 1864, Liszt accepted the invitation of Cardinal Gustav Adolf zu HohenloheSchillingsfürst almost every year to spend a few days or weeks at the Villa d’Este in Tivoli near Rome. He often received visitors there from Rome; besides Liszt and his pupils the liberal-minded, cultured prelate also attracted representatives of the intellectual elite. This extraordinary place not only became Liszt’s favourite dwelling-place in Italy but also inspired him to write several works for piano, which he published in 1883 in the third volume of Années de pèlerinage. One of these is Les jeux d’eaux à la Villa d’Este, composed in 1877, which would become one of the most popular pieces

by Liszt.

This edition adopts the score and the critical report of the New Liszt Edition (amending it, if necessary). In addition, it includes a preface in German and English, that explores the genesis of the work on the basis of current research, and orients the reader in issues of notation.

EinzELaUSgabE aUS dER nEUEn KRiTiSChEn LiSzT-gESamTaUSgabE

LES JEUX D’EAUX À LA VILLA D’ESTE DIE WASSERSPIELE IN DER VILLA D’ESTE

with preface and critical notes Fingersatz revidiert von Kornél ZEMPLÉNI

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Editio Musica Budapest

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Piano

Urtext Editions based on the New Liszt Edition FRANZ LISZT

Weihnachtsbaum Arbre de Noël Edited by Imre SULYOK and Imre MEZŐ Preface by Adrienne KACZMARCZYK Liszt completed Weihnachtsbaum (Christmas Tree), a collection of twelve short piano pieces, in 1876. Two years earlier he laid out its concept in a letter to Carolyne zu Sayn-Wittgenstein as follows: “These will not be learned or ostentatious works, but simple reflections of my youthful emotions which remain indestructible across the trials of the years.” Weihnachtsbaum belongs among the handful of compositions by Liszt that turn towards the world of children and, at least in part, reflect their emotions.

Five pieces of the collection are arrangements of Christmas carols of various origins. The remaining character pieces were written using themes by the composer himself. Liszt dedicated Weihnachtsbaum to his eldest grandchild Daniela von Bülow, whose correspondence with Liszt suggests an especially close relationship. The ceremonial first performance took place at Christmas of the same year: Daniela visited her grandfather in Rome, who played the gift he had intended for her.

This edition adopts the score and the critical report of the New Liszt Edition (amending it, if necessary). In addition, it includes a preface in German and English, that explores the genesis of the work on the basis of current research, and orients the reader in issues of notation. einzeLauSgabe auS der neuen KritiSChen LiSzt-geSamtauSgabe

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with preface and critical notes

10 Meiner Enkelin Daniela von Bülow gewidmet

WEIHNACHTSBAUM L’ALBERO DEL NATALE – ARBRE DE NOËL R 71, SW/SH 186, NG2 A267

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Grade: Medium, Difficult Language: English, German Number of pages: 56 Size: 23 × 30 cm Order no.: EMBZ12316

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Published by Editio Musica Budapest Zeneműkiadó Ltd.

Editio Musica Budapest

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Piano

IMRE MEZŐ

Miss Melody’s Wardrobe 153 Easy Variations on a Hungarian Folk Song for Piano Imre Mező (born 1932) composed several popular works for children and young people studying music. His most recent collection is extraordinary in that all the 153 tiny pieces are based on the same Hungarian folk song, offering a myriad of ways and options of presenting and elaborating the same melody without altering it.

The variations are grouped by key and, within each chapter, are placed in order of difficulty. In doing so, the composer offers, as piano teacher Erika Becht writes, “two ways for teachers and pupils to know and try out the many musical and technical variations (such as augmenting, diminishing, canon, melody pairs, etc.). This can be done within the same key, in order of difficulty, or by using the scope of the music to find the right degree of difficulty, and advancing through the key signatures so developing pupils’ abilities and sense of security in reading a score by playing in various keys.”

This publication is not only recommended to beginners or more advanced pupils undergoing traditional musical tuition, but also to those interested in the secrets of composition and musical structures.

Ildinek és a debreceni MEA Művészeti Iskolának

Ildinek és aa debreceni MEA Művészeti Iskolának Ildinek Ildinek és és a debreceni debreceni MEA MEA Művészeti Művészeti Iskolának Iskolának

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WARDEROBE OF MISS MISS MELODY Miss Melody’s Wardrobe WARDEROBE OF MELODY Easy Variations for Piano Piano EASY Variations VARIATIONS FOR PIANO Easy for Easy Variations for Piano

KÖNNYŰ VARIÁCIÓK ZONGORÁRA

Miss Melody’s Wardrobe EASY VARIATIONS FOR PIANO

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GYÖRGY ORBÁN

Veni, Sol! Selected Pieces for Piano György Orbán (born 1947) is among the most frequently performed contemporary Hungarian composers. His style incorporates a characteristic mix of classical, modern, cinematic, and jazz elements. In addition, he claims he “loves splashing about in tonality,” which makes his works accessible to the wider public. Owing to his humour and imagination, he finds an easy path to children, as demonstrated by the popularity of his piano works specifically intended for beginners.

According to the composer, Veni, Sol! is “a collection of performance pieces for pianists with more advanced technical skills.” The selection by Ágnes Lakos is based primarily on a 48-piece series entitled Seasons, composed in the early 2000s, but some earlier compositions have been also included in the volume. One critic wrote of Seasons: “In spite of their seeming simplicity, these are strikingly well-written pieces in which the composer is aware of the extent to which he can work on his raw material, these themes and soundings that often suggest the simplicity of an object found.”

The ingenious simplicity and the consistently handy use of the instrument give these pieces the potential to be a favourite of advanced piano players.

ORBÁN

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10

Piano / Harpsichord

Guide to Early Keyboard Music France 1 & 2 Edited by Szilvia ELEK and Anikó HORVÁTH This brand-new series is intended as a guide to the keyboard music of the 16th to 19th centuries for pupils of the piano and the harpsichord, as well as of other early keyboard instruments. Each volume contains pieces by well-known and lesser-known composers from one country or region. The main purpose of the series is to extend the repertoire and stylistic knowledge of both pianists and harpsichordists while also presenting fine pieces and typical genres based on original sources. Our edition retains the performance indications of the composers’ manuscripts and contemporary editions. Each volume includes: – suggestions for stylistically appropriate performance both on the piano and on period instruments – suggested elaborated versions of some pieces and excerpts – a fold-out list of ornamentation signs and the composers’ own tables of ornamentation signs – biographies of the composers and the sources of the pieces – translations of foreign-language performance indications.

The two volumes devoted to French keyboard music includes close to 50 showy and relatively easy works – preludes, dances, suites, rondeaux, and character pieces – from the early 16th until the late 18th century (ordered chronologically).

GUIDE to Early Keyboard Music

Reiseführer

zur alten tastenmusik

Guide

sur musique ancienne pour clavier

GUIDE to Early Keyboard Music

2

France

France

Frankreich

Frankreich

Franciaország

Franciaország

Z. 20 018

Guide

sur musique ancienne pour clavier a régi billentyűs muzsikához

a régi billentyűs muzsikához

Editio Musica BudapEst

zur alten tastenmusik

Útikalauz

Útikalauz

1

Reiseführer

Editio Musica BudapEst

Z. 20 019

France 1

France 2

Grade: Medium, Difficult Language: English, German, French, Hungarian Number of pages: 108 Size: 23.5 × 31 cm Order no.: EMBZ20018

Grade: Medium, Difficult Language: English, German, French, Hungarian Number of pages: 112 Size: 23.5 × 31 cm Order no.: EMBZ20019

Published by Editio Musica Budapest Zeneműkiadó Ltd.

Editio Musica Budapest

11

Guitar

MIKLÓS MOSÓCZI, ERZSÉBET NAGY

Guitar Tutor V Concert Pieces, Etudes and Technical Exercises for Advanced-Level Pupils )

Revised and extended edition

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 modified the amount of musical and technical material within the volumes. 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 volume V, which demand more developed technique and musicality, to extend the repertoire of those who wish to study further. The transcription of lute works has 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.

5

ELŐADÁSI DARABOK VORTAGSSTÜCKE – PERFORMANCE PIECES MINUETTO DEDICATO ALLA SIGNORA MARINA 1 1

1a) 1a 1a

Niccolo Paganini

j

# œj œ ## # # 3 œ ... œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ & .œ & # 344 œ œœ œ œ œ œœ œ œœ œœ œ œ œ œœ œ œ œœ œ œœ œœ œœ

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j 2. œ œœ œœ œ œ œ œœ œœ œ œ # # 1. œ œœ œ œ œ œ œœ œ & # ## # œœ œœ œœ œœ œ jj .... œœ œœ œœ œœ œ jj ‰‰ œœœœ œ œ œ œœœœ œœœœ œ œ œ œ œœœœ œœœœ œ œ œ œœœœ & œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ 1.

2.

## # ## œ œ œœ œœ œœ œ œœ œœœ œœœœ œœœœ œœœ œœœ œœ œœ œ œœ œ œ œ œœ œœ œ œ & & # œœ œ œœ œ œœ œ œ 1b 1b) 1b

## # ## 3 2 œœ .. œ œ œ œ œœ œ . œ œ œ œ œœ œœœ œœ # œœ .. œœœ œœ œ œœ 3œ.

2 & #œ . œ & # 344 3 œœ. . œœ œœœ1b œœ.. œœ œœ œ. œ1b œœ

# # 1 œ œœ œ œ œ œ & # ## # 1œœ œ œ œ œ œœ œœ œœ œœ œ & œœ œœ

Grade: Medium, Difficult Language: English, German, Hungarian Number of pages: 108 Size: 23 × 30.2 cm Order no.: EMBZ12891

œ œ œœœ œ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œœ œœ j ‰ œœ œœ œ œ œ œ œj ‰ œœœ œœ œœ œœ œ 2 3 2 3

œ œœ œœ œ œœ œœ œœ œœ œœ œ œ œœ œœ œ œœ œ œœ

œœœ ... œœ œœ 443 œœœœ 22 œœœ œœœ # œ .. œœ œ œœ œ œ . œœ œœ 3 œ œ # œœœ .. œœ œ œ œœ.. œœ œœ.. œœ œœ œœ œœ œ œ œ œœ œœ œœ œ œœ œœ œœ œœ 1œ œœ # œœ œœ œ 1œ #œ œœ œœ

. ...

# # œ œ œ œ œ œœ œ œ œ œœ œœ œœœ œœ œ œœ œ œ œœ œ œ & # ### œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œ œ œœ œ œ & œ œ œ œ œœ œœ œœ œœ œœ œœ œœ

. ...

1 1

œœœ ## # ## . œ .. œ œœœ œœ œ œ œ # œ .. œœ œœ œ œ œ œœ œœ œœ . œ. œ œ & & # .. œœ . œœ œœœ œ œ œœ # œœœœ. .. œœ œ œœ.. œœ œœ œ. œ

4 4 2 2

œœ œ .. œ œœœ œœ œ . œ œ œ œ œœ œœ œœ œœ œœœ .. œœœ œœœœ œ œœ œœœ ## œœœœ ... œœœ œ œœ.. œœ œœ.. œœ

Z. 12 891

12281_Gitar 5-Beliv.indd 5

2020.03.12. 10:16:17

Published by Editio Musica Budapest Zeneműkiadó Ltd.

Editio Musica Budapest

12

Flute

ZOLTÁN KODÁLY

Children’s Dances for flute and piano Arranged by Vilmos BÁNTAI and Éva B. SIPOS Most of Zoltán Kodály’s (1882–1967) pedagogical compositions are written for voices. Some piano collections, which use the black keys of the instrument to draw the attention of music students to the various possibilities of the pentatonic scale, can be regarded as exceptions. The earliest of these is the twelve-piece cycle Children’s Dances, which dates back to 1945 and addresses the needs of advanced pianists, not beginners. Its melodies reflect characteristics of Hungarian folk dance tunes, while their setting even evokes the sound of original folk instruments commonly used for accompaniment.

Vilmos Bántai and Éva Bántai-Sipos selected eight of the Children’s Dances to transcribe for flute and piano. In these transcriptions, recommended for music school students, the original keys are always transposed to easier-to-read keys. In the case of two pieces, two different transpositions (one being very easy to play and the other more difficult) are even offered. The flute is undoubtedly featured as a melodic instrument in these pieces, while the piano sometimes plays a supporting role and other times shares equal status with the flute.

(orig. 2)

Allegretto cantabile

2 & b4

CHILDREN’S DANCES KINDERTÄNZE für Flöte und Klavier

fuvolára és zongorára (BÁNTAI – SIPOS)

œ œ œ œ

p espr.

œ œ œ œ

œ. œ. œ-

œ œ œ œ

œ. œ. œ-

Œ œœ œj ‰ Œ & b 24 œ œ œ œ œœ œ . p espr. œ. ? b 24 œ œ œ œ œ ‰ Œ œ œ œ œ J

for flute and piano

GYERMEKTÁNCOK

3

2

KODÁLY

9

& b

œ œ œ œ

∑

&b

œ œ œ œ

œ. œ. œ-

f

œ œ œ œ

œ œ œ

œ œ œ

œ. œ. œ-

œ œ œ œ

œ. œ. œ-

œ

œ œ œ œ

œ œ

œ œ œ

˙

œ. œ. œ-

œ. œ‰ J

. ‰ Jœ œ

p

. œœ. œ. œ. œ‰ œ. œ‰ œœ œœ œ œ œ œ J J dim. p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. -œ œ œ. dim.

œ. œ. œ-

∑ ˙ f ? b œ œ œ œ œ. œ. œ-

œœ. œœœ. -œ

..

.. ..

D. C. No. 1b al Fine

3a

(orig. 4)

Moderato cantabile

b & b 43

Universal Music Publishing Editio Musica Budapest Z. 15 069

Grade: Easy, Medium Language: English, German, Hungarian Number of pages: 20+8 Size: 23 × 30.2 cm Order no.: EMBZ15069 Published by Universal Music Publishing Editio Musica Budapest

Editio Musica Budapest

∑

b & b 34 Œ œœ œœ p - ? b3 œ œ œ œ b 4

EDITIO MUSICA BUDAPEST

b & b 34

7

∑

b & b 34 Œ

œ œ -œ -œ œ œ ? b3 œ œ b 4 dim.

∑

Œ

∑

œ œ -œ -œ

œ œ ˙ ∑

Œ œœ œœ - p œ œ ˙

∑

œ œ -œ -œ cresc. œ œ œ œ

œ œ œ F

Œ

œ

∑

Œ Œ œœ f œ œ œ œ

Œ

œ œ œ

œ œ ˙

F œ Œ œ œ Z. 15 069

∑

œ œ -œ -œ œ œ ˙

Œ

∑

cresc.

Œ

œ œ œ ˙

Œ

œ

24

∑

43

24 Œ

œœ

34

œ 2 œœœ 3 4 4 œ œ ˙

œ œ œ

cresc.

Œ

œ œ œ ∑

13

Flute

GYÖRGY KURTÁG

Scenes for flute, Op. 39

Signs, Games and Messages Solo and Chamber Works for flute, alto flute, bass flute and recorder Playing score The cycle Scenes for solo flute, written in September 1997 and dedicated to Ádám Szokolay, occupies an extraordinary place in György Kurtág’s oeuvre. The premiere of the long-withheld composition was held in 2016 on the composer’s 90th birthday. Each movement in the cycle reformulates familiar gestures of Kurtág’s music: it develops pensive, impetuous, ethereal or playful characters.

Signs, Games and Messages are collections for solo instruments and small chamber ensembles. Each of the three words refers to an essential factor in Kurtág’s music. Signs ties to the composer’s study year in Paris as a young man, when he could not compose but merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are actually diary-notes and missives to musicians and friends important to Kurtág. The collection – like similar collections for string and wind instruments – does not form a coherent cycle; the pieces can be played individually, or in various orders, or together with pieces from Signs, Games and Messages written for other instruments.

Szokolay Ádámnak – für/for Ádám Szokolay

Jelenetek Jelenetek Szenen Szenen Scenes Scenes

KURTÁG Scenes / Jelenetek / Szenen for flute / fuvolára / für Flöte

Op. 39

Signs, Games and Messages for flute, alto flute, bass flute and recorder

Jelek, játékok és üzenetek fuvolára, altfuvolára, basszusfuvolára és blockflötére

Zeichen, Spiele und Botschaften für Flöte, Altflöte, Bassflöte und Blockflöte

EDI T I O M USI CA BUDAP EST

Universal Music Publishing Editio Musica Budapest

Z. 15 127

1) Ballada 1) Ballada

KURTÁG György

Parlando, con moto, rubato

& nœ nœ nœ nœ nw.

P – F, sonore, dolce

nœ

Op. 39

nœ bœ bœ nœ nœ nœ nœ nœ

œ nœ nœ nœ nw.

più sonore

legato - non legato

poco esitando

& #œ #œ #œ #œ #œ sub. ∏ , quasi eco & nœ nœ #w f & nœ nœ nœ P –p & nœ nœ P– F j

& œ nœ nw

#œ

nœ

bœ

nœ

bœ bœ nœ nw

a tempo

‹w

#w

nœ nœ #œ

rinf.

#œ #w

molto dim.

& œ

nœ

bœ

œ #w P

œ #œ #œ #œ più f

sempre più calmo

& œ #w.

Grade: Difficult Language: English, German, Hungarian Number of pages: 44 Size: 23 × 30.2 cm Order no.: EMBZ15127

Ballade Ballad

nœ

w

#œ

nœ nw.

#w

ancora più

#œ

nœ

#œ #œ f

#œ

nw nw

nœ nœ

#œ bœ

nœ

nœ œ

œ #œ #œ #œ #œ F

#œ

#w

bœ

bœ

.

n œ-

poco rinf.

nw nœ p– P nw

nw nœ #œ nœ

#œ nw

ƒ

#w

#œ

nw

#œ

calando molto

nœ

nw

#w poco

j

œ nœ nw molto

nw

# œ.

.

Amsterdam, 1997. IX. 7-8.

A Jelenetek tételei csak teljes sorozatként, a megadott sorrendben játszhatók.

Die Sätze von Szenen sollten nur als vollständige Serie, in der angegebenen Reihenfolge gespielt werden.

The movements that comprise Scenes are only intended to be played as a complete series in the given order. © 2019 by Universal Music Publishing Editio Musica Budapest

Z. 15 127

Published by Universal Music Publishing Editio Musica Budapest

Editio Musica Budapest

14

Chamber Music

EMB Contemporary Music MÁTÉ BALOGH  

Dadamusik

 à  

 

Hommage à Kurt Schwitters & his Ursonate for string quartet

1

2

Parlando e=90-100

6 8 fff

4 4 (fff) (IV)

3

Dadamusik fits well with Máté Balogh’s text-music in recent years.

Each sound in the composition is a musical representation of the meaningless poem Ursonate by Kurt Schwitters, a Dadaist artist of the early 20th century. However, knowledge of the poem is not absolutely necessary to appreciate the piece. The text as an organizing structure participates in the formation of the piece: each moment is composed of elements of vowels (musical sounds) and consonants (various noises), expressed in a verbal recitation.

7 8

Vl.2.

7 8

(fff)

senza dim.

(III)

(non flag.) molto vibr.

(fff)

senza dim.

6 8 fff

sfz

fff

sfz

7 8 sfzpp

senza dim.

(f)

(non flag.)

IV molto vibr.

0

6 8 fff

Vla

fermata lunga (10") non vibr.

(non flag.) molto vibr.

(III)

3

7 8

Vl.1.

senza tempo

4 4

7 8

4 4

7 8

4 4

7 8

(non flag.) molto vibr.

7 8

Vc.

6 8 (fff)

Meno mosso e=60, poi poco a poco accelerando...

4

senza dim.

poco a poco piú sul pont.

molto vibr.

7 8

Vl.1.

5 8 sfzp

mp

mf senza cresc. (non trem.)

(non trem.)

III 0

7 8

Vl.2.

5 8 p

pp

p

mp

p

mp

p

mp

p

(non trem.)

The work was commissioned by the Kunststiftung NordrheinWestfalen and is dedicated to the Asasello Quartet.

7 8

Vla

5 8 pp

p

p (non trem.)

7 8

Vc.

5 8 p

Score and parts in folder Grade: Difficult Language: English Number of pages: 92 Size: 23 × 30.5 cm Order no.: EMBZ15125

pp

p





PÉTER TORNYAI



4

Weitere intime Briefe

 in memoriam Leosˇ Janácek  ˇ & Kamila Stösslová



 

libero solo (al fine del movimento)

for string quartet

IV

vibr.

n.v.

*

I

Violoncello

*

3 4 * the same pitch

p sempre molto sensibile

3

3

3

p come prima

in tempo (adagio) q  52

quasi silenzio

quasi silenzio

(noise)

6

2 1

Vln. I ppp

pppp

(noise) 2 1

Vln. II ppp

pppp

(noise) III 2 1



The composer writes on this work as follows: “Leoš Janáček’s passionate and inspiring emotions towards Kamila Stösslová, a woman 38 years his junior and also married, produced more than 700 letters and his 2nd string quartet Intimate Letters. In the last two years of the composer’s life beyond the ordinary letters they used an ‘album,’ a little hand-written book into which he entered his impressions of meetings with Kamila. The album contains not only text entries but also some short musical sketches between the lines. In Weitere intime Briefe I used some parts of fragments found in Janáček’s album and put them in a musical context which is quite different from the original one or from Janáček’s own string quartet (which is by the way one of my favorites of the genre).”

3

eco non espr. ppp

Vla ppp

pppp

flaut.

(vibr.)

I

Vc. p

p

cantabile ma con delicatezza

12

Vln. I p pp

mf

ppp

Vln. II pp

p pp

ric.

I

p

mp

ppp s.t. vibr.

acuto

(III)

Vla p

f

pp

p

pp

p

vibr.gliss.

Vc. poco più

The work has been commissioned by the Kunststiftung NordrheinWestfalen. It was premiered on December 16, 2019 by the Asasello Quartet in Neuss.



Z. 15 126



Score and parts in folder Grade: Difficult Language: English Number of pages: 136 Size: 23 × 30.5 cm Order no.: EMBZ12126 Both titles published by Universal Music Publishing Editio Musica Budapest

15

A Panorama of Songs Easy songs of four centuries in six languages Edited by Katalin HEGEDÜS GÖNCZY A Panorama of Songs fills a want that has been felt for decades. A selection of songs in six European languages from the 16th to the mid-20th century encompassing every musical period, it seeks to help beginner-level students of voice teachers and répétiteurs, and foremost the singers themselves.

The series brings a breath of fresh air and new works to the conventional Lied repertoire, truly offering a new panorama. Using the means of modern technology it also provides immense help in learning and performing the songs.

The three volumes of the series are arranged by level of difficulty, and all of them are available for high and low voices (“a” volumes for high voices, “b” volumes for low voices). Each volume is a complete unit in itself, including all six languages (English, French, German, Italian, Russian, and Spanish) and presenting a cross-section of styles from the early Baroque to the 20th century.

Interpretation of the songs is facilitated by literal English and Hungarian translations of their texts, and the reading of the Cyrillic script is assisted by transliteration (again in English and Hungarian).

Ornamentation suggestions for the performance of the Baroque works are also included.

The printed music is accompanied by additional useful material to help the learning process, available online at www.emb.hu/downloads. The website contains the piano accompaniments of all of the songs, as well as all the original texts recited by native speakers.

A Panoram

rama of So

ngs

Easy songs

A Panoram

a of Songs

Easy songs

of four centu

ries

A Panoram

a of Songs

Easy songs

of four centu

ries

A Panoram

a of Songs

Easy songs

of four centu

ries

A Panoram

a of Songs

Easy songs

of four centu

ries

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Z. 20006 Z. 20011 Z. 20007 Z. 20012 Z. 20008 Z. 20013

MU SIC A

Z. 20 008

BUDAPE

mély han gra

EDI TIO

ST

2019.03.28

. 10:39:31

Volume 1/a

Volume 2/a

Volume 3/a

for high voice Grade: Easy, Medium Number of pages: 96 Order no.: EMBZ20006

for high voice Grade: Medium Number of pages: 92 Order no.: EMBZ20007

for high voice Grade: Medium, Difficult Number of pages: 104 Order no.: EMBZ20008

Volume 1/b

Volume 2/b

Volume 3/b

for low voice Grade: Easy, Medium Number of pages: 96 Order no.: EMBZ20011

for low voice Grade: Medium Number of pages: 96 Order no.: EMBZ20012

for low voice Grade: Medium, Difficult Number of pages: 104 Order no.: EMBZ20013

MU SIC A

Z. 20 013

2019.03.26

. 15:31:29

BUDAPE

ST

2019.03.28

. 10:47:26

All titles Language: English, French, German, Italian, Russian, Spanish Size: 20.2 × 28.5 cm Published by Editio Musica Budapest Zeneműkiadó Ltd.

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