COVER
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CATALOGUE NR.
COMPOSER & TITLE
SHORT DESCRIPTION

A-1016

3 Popular Transcriptions for piano

Wedding March from "The Midsummer Night’s Dream" / Ode to Joy from the Ninth Symphony / From the 2nd movement of "Surprise"Symphony

Zsolt Durko (1934-1997)
A concert piece characteristic on the world famous Hungarian composer's style constructed from variants of short units of form.

A-1112

Zsolt Durko:
The History of the Spheres 1.-2.

Zsolt Durko (1934–1997)
The cycle is consisted of 60 piano pieces divided into 5 series. There are longer and shorter ones, simple or more complex in form; some of them are relatively easy to perform while others demand sheer virtuosity. The wide range and combined effect of the sounds suggests the image of globe, the round whole.

A-1113

Zsolt Durko:
The History of the Spheres 3.-4.

Zsolt Durko (1934–1997)
The cycle is consisted of 60 piano pieces divided into 5 series. There are longer and shorter ones, simple or more complex in form; some of them are relatively easy to perform while others demand sheer virtuosity. The wide range and combined effect of the sounds suggests the image of globe, the round whole.

A-1114

Zsolt Durko:
The History of the Spheres 5.

Zsolt Durko (1934–1997)
The cycle is consisted of 60 piano pieces divided into 5 series. There are longer and shorter ones, simple or more complex in form; some of them are relatively easy to perform while others demand sheer virtuosity. The wide range and combined effect of the sounds suggests the image of globe, the round whole.

A-1173  

Durkó, Zs.: Dwarves and Giants 

Zsolt Durkó (1934–1997)

The famous series of the composer to make the piano playing of the 1960’s and 70’s practice. The movements: Fleecy Cloud, Dwarves and Giants, Little Drummer, Winter’s Tale, Ancient Greek Melody, Balaton Boat Song, Clusters, Postlude.

A-1063

Gyorgy Geszler:
24 Preludes and Fugues

Gyorgy Geszler (1913-1998)

A-1082

Gyorgy Geszler:
Two Machine Etudes

Gyorgy Geszler (1913–1998)
New edition of the avantgarde compositions of the composer from the 1930s: Two Machine-Etudes (Rhythm of the Rails, Humming Top) and some movements of the Etudes of Intervals (Seventh, Second, Forth).

Mate Hollos (1954- )
From higher classes of music school to the concert platform.

EdbR KiL 004

Laszlo Kiraly:
4 Pieces for Piano

László Király (1954- )
Title of movements: Dots and Lines, Judo, Hermantus, Imitations
(also for intermediate educational level)

EdbR KiL 011

Laszlo Kiraly:
Adagio e Rondo (1970)
Hommage a Webern (1975)

Laszlo Kiraly (1954– )
Technically simple, short movements for piano.

Kamillo Lendvay (1928- )
From intermediate level to concert platform.

Laszlo Lajtha (1892-1963)
Six concert pieces of high technical demand: Ostinato, Invenzione a due voci, Invenzione a tre voci, Scherzo, Fuga, Toccata.

Mihaly Mosonyi (1815-1870)
The studies of Liszt’s contemporary and friend for the different levels of music education in the Hungarian national style of the 19th century.

Mihaly Mosonyi (1815-1870)
Little concert pieces in the Hungarian romantic style of the 19th century on intermediate technical level.

A-1047

Mihaly Mosonyi:
Transcriptions and Marches
for Piano

Mihaly Mosonyi (1815-1870)
Little concert pieces in the Hungarian romantic style of the 19th century on intermediate technical level.

Jozsef Sari (1935- )
Short witty pieces for music education: Bartók’s Pocket-watch, When Stravinsky Was Still a Child, The Knife-grinder, Wheathercock, Fallen Leaves, Mobile sine perpetuo, Self-portrait.

Jozsef Sari (1935- )
Short pieces from intermediate level of music education to concert platform.

Jozsef Sari (1935- )
Eight educational character pieces for piano.

A-1179

Jozsef Sari: Alienated Quotations 

Jozsef Sari (1935– )
"Verfremdete Zitate (Alienated Quotations) is an isolated, unrepeatable instance in my output. In this work, I tried to express in a special way my profound admiration for J. S. Bach. It has a three-part form and although not one of the tones was written by me, I would still consider the work as a whole to have its own independent identity. The first and second movements are based on the A minor Prelude in Book 2 of Bach’s Das Wohltemperierte Klavier, while the third movement is based on the E minor Fugue in Book 1. My method of composition was to use only the notes I needed from these pieces. The ”recycled” notes are linked together either by means of pauses or by extending the earlier note, occasionally with changes to its rhythm. Each tone is heard at exactly the same point as in the Bach original. However, with the exception of the first movement I did not conform to the registrer of the originals, so that although the notes are still identical, they are played one or more octaves higher or lower than in the Bach. As both the Bach pieces are extremely chromatic, I managed to write parts of the work sounding like a free dodecaphonic style. In the second half of the third movement I finally show my true character – i.e. at this point the E minor fugue is heard without ”alienation”, simultaneously with my version. The use of a prepared piano in places also contributes to the effect of alienation. Te work is dedicated to Ádám Fellegi, who gave the first performance in Budapest in 1985."

A-1013

Robert Schumann:
4 Easy Piano Pieces

Doll’s Lullaby / Soldier’s March / The Wild Rider / The Happy Ploughman Returning from Fields

Viktor Togobitsky (1952-1999)
Piano pieces from higher classes of music schools to concert platform by the Russian composer who lived in Hungary and wrote these works in the memory of his famous compatriots: A la Prokofiev, Evening Round-Dance (Hommage à Stravinsky), Variations on a Theme by Shostakovich.

A-1106

Viktor Togobitsky:
Children's Pamphlet

Viktor Togobitsky (1952- )
A collection of short piano pieces for pupils from beginners to intermediate level.

Janos Vajda (1949- )
From higher classes of music schools to concert platform.

Istvan Vantus (1935-1992)
For pupils (Dream, Game).

Gyorgy Geszler (1913-1998)
Concert piece for 4 hands.

Gyorgy Geszler (1913-1998)
Easy arrangements of well-known Hungarian Christmas Carols for 4 hands (for pupils).

A-1174

Mate Hollos: 4 – 2 – 1

Mate Hollos (1954– )
Four hands, which belong to two people, and these two musicians are one soul when they play four hands. This is what the title expresses on the title page of the composition, which consists of five short movements. I am not referring just symbolically to ”one soul”, but also to the fact that the two parts blend together in such a way it seems one performer is playing them. This is so even when – as in the first movement – melody and counter-melody wander from one pianist's hands to the other, or when – as in the second movement – their responses to one another merge into a melodic current passing from one to the other, or when – as in the fourth movement – the lower part seems to be constructed for a left hand, the music in the higher register for a right hand, or when – as in the third and fifth movements – they share between them a melody which seems to be played by just one musician. I composed the piece for my pianist friends Ferenc Kerek and his wife Éva Fekete, who are welded into one soul not just on the keyboard.