Easy songs from four centuries in six languages for high voice-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 volumesfor 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.

Violin Music for Beginners 2

A Christmas Carol (Hungarian folksong)-The piece was written originally for equal voice choir in 1929. A mixed-choir adaptation was made in 1961 at the request of Oxford University Press. This appeared in print in the same year with an English text under the title A Christmas Carol in a collection of Christmas songs as well as in a separate print. The musical material of the mixed-choir version largely follows the original. There is one essential difference in verse 5 beginning at bar 35 (Babe all holy) where the tenor solo appears with a delightful eight-bar countermelody not found in the original. Since this version only appeared in Kodály's lifetime with an English text this has been retained but we havealso provided the original Hungarian text upon which the equal voice version is based. Zoltán Kodály's complete choral works for mixed voices were published in a new extended edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new easily-legible music scores edited on uniform principles. For better readability the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume and has been printed on excellent-quality pale-yellow paper.

(von Bach bis Stamitz)-An ABRSM syllabus title 2010-16 Grade 6-7. Contents: 1. Bach Johann Sebastian: Sonata in G major (BWV 1027) 2. Händel Georg Friedrich: Sonata in C major 3. Telemann Georg Philipp: Sonata in E minor 4. Schaffrath Chr.: Sonata in A major: Allegro 5. Vanhal Johann Baptist: Sonata in E flat major: Rondo 6. Stamitz Carl: Concerto in D major: Finale op. 1 7. Hammer X.: Sonata in D major: Menuetto Rondo Scherzando Hongaresse no. 2

Années de Pelerinage-The New Liszt Edition (NLE) comprises ten series the works being grouped according to genre and scoring. Series I (Works for piano solo) was completed as a joint publication of EMB and Bärenreiter-Verlag Kassel by 1985. From 1986 on EMB continued to publish NLE alone completing Series II (Free arrangements and transcriptions for piano solo) by 2005. In publishing Series I and II priority was given to the final version of the works: of earlier versions only those were published in the appendix that differed significantly from the final form. In 2005 a series of 15 supplementary volumes was launched with the aim of publishing earlier versions of the solo piano works thatdiffer less substantially from the final form: mainly those published by Liszt himself but also some that remained in manuscript. In special cases more extensive fragments are also published in the supplementary volumes.

This publication contains Hungarian folk song arrangements: these pieces intended for music school students can be performed separately or may be grouped together in selections of variable size . The soprano recorder may be replaced by a clarinet an oboe or perhaps a bassoon (the latter may require transposition in places). The melodies are mostly of a sprightly dance-like character and can therefore be effective programme items at student concerts. This publication contains Hungarian folk song arrangements; these pieces intended for music school students can be performed separately or may be grouped together in selections of variable size. The Soprano Recorder may be replaced by a Clarinet an Oboe or perhaps a Bassoon (the latter may require transposition in places). The melodies are mostly of a sprightly dance-like character and can therefore be effective programme items at student concerts.

für zwei Altblockflöten-In France at the beginning of the 18th century the transverse flute became very popular and dozens of volumes of suites were published for one flute or more (with or without bass). On the title-page of many publications of that period the violin oboe and recorder are mentioned as alternative instruments on the recorder the pieces generally have to be played a minor third higher. This volume offers a selection of works by the best French wind composers (Hotteterre Pierre Philidor La Barre Montéclair) transposed for the recorder. It includes Hotteterre's well-known D minor suite as far as we know this is the first printed edition in which the 'Passacaille' can be playedwithout page-turning. This is a wonderful collection of Baroque music for intermediate to advanced treble recorder duet. There are seven suites of pieces presented by Michel Pignolet de Montéclair; Pierre Danican Philidor; Jacques-Martin Hotteterre and Michel de La Barre. The edition includes an informative preface about French ornamentation of the period. The new music engravings are very clean and easy to read.

für Blockflöte-The author of this volume the outstanding Hungarian baroque flute and recorder player János Bali has undertaken no less than to provide a guide for bewildered recorder players –: teachers and students amateurs and professional musicians alike –: faced with the extremely intriguing but difficult question: How should baroque pieces be ornamented? The answers are given by contemporary musicians themselves –: the collection contains only contemporary ornaments (and richly ornamented pieces and movements) selected from the repertoire of the period between 1550 and 1760 that is from the late Renaissance through the various national styles of early and maturebaroque right up to rococo. In the score the original melody of each work or movement and several different ornamented versions of the same melody can be found one below the other thus the various possible modes of ornamentation can easily be compared. In the extremely valuable and informative introductory study Bali's 'A Baroque Ornamentation Tutor for Recorder' is an essential introduction for ornamenting music composed between 1550 and 1760. The text is provided in 4 languages: English German French and Hungarian.

für ein Melodie-Instrument und Basso continuo- Contents: 1. Entree 2. Courante 3. Dite Moy Ianeton 4. Menuet 5. Passepied nouveaux 6. Gigue nouvelle 7. Courrante 8. La marche Angloise 9. Menuet 10. Passepied 11. Chaconne 12. Bouree 13. Entree nouvelle 14. La marche des dragons 15. L'Isabel 16. Menuet 17. L'Escossoise 18. La Valentine 19. Courante 20. Les dames de londre (D'Urfey) 21. Rigodon (Lully) 22. Bouree deuxieme air du Rigodon (Lully) 23. Menuet 24. L'Argentine 25. Preno do 26. La vigne 27. L'Opera 28. Sawnay 29. Plaisir venez sans crainte (Lully) 30. La gigue du Roy 31. Rigodon nouveaux 32. Tricotes 33. Menuet 34. Menuet 35. Galliarde La patetique 36. Les macabees

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. 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 the Tuttis 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.