Modern trio album. [music] : fifteen special concert arrangements and original compositions for violin, cello and piano /

Elegie and consolation, op. 200, no. 2 / Atherton, Frank P. -- Hungarian dance no. 5 (in G minor) / Brahms, Johannes -- Humoreske : op. 101, no. 7 / Dvor̂ák, Anton ; arr. by Gustav Saenger -- La Cinquantaine / Gabriel-Marie ; special concert arr. by C. Arnold -- Gavotte Louis XIII : Amaryllis / Ghys, H. ; arr. by N. Hansen -- Serenade, from Op. 3 / Herbert, Victor -- Dreams of love = Liebesträume : notturno III / Liszt, Franz ; arr. by R. Klugescheid -- O Belle Nuite, Barcarolle from "Contes d'Hoffmann" / Offenbach, J. ; arr. by Max Woltag -- Celebrated Andante / Reissiger, C. G. -- My heart at thy sweet voice : Cantabile from "Samson and Dalila" / Saint-Saëns, C. ; arr. by R. Klugescheid -- Melodie Mignonne / Sinding, Christian ; arr. by N. Hansen -- Vienna life = Wiener Blut / Strauss, Johann ; special concert arr. by C. Arnold -- Autumn song = Chant d'automne ; Chant sans paroles : op. 40, no. 6 / Tschaikowsky, P. ; arr. by N. Hansen -- Song to the evening star : from "Tannhäuser" / Wagner, Richard ; concert paraphrase by C. Arnold.

The shepherds at the manger. [music] : In dulci jubilo /

Cover title.

The Kneisel collection : for violin & piano : selections from the masters, old and new /

Principally arrangements.

Mélodie arabe : for violoncello or violin with pianoforte accompaniment /

Violin part revised and fingered by René Ortmans.

Symphonie espagnole, for violin and piano.

Mode of access: Internet.

Favorite encore folio : for violin and piano /

Principally arrangements.

Cantabile e Valzer [music] /

For violin and piano.

Organ repertoire : a book of pipe organ music for church and concert /

(cont.): Cradle song : berceuse / Walter Spinney -- Andantino from Fantasia in C minor / W.A. Mozart -- Marche de fête / Edgar A. Barrell -- Minster march : from Lohengrin / R. Wagner -- Sunrise : op. 7, no. 1 / Sigfrid Karg-Elert -- Song without words = Chant sans paroles : op. 2, no. 3 / P. Tschaikowsky -- Prayer on motives from R. Wagner's Lohengrin : op. 54 / B. Sulze -- Festal march : op. 67, no. 8 / E.R. Kroeger -- Christmas march / G. Merkel -- Duke Street : postlude II / Geo. E. Whiting -- Canzonetta from the Raymond overture / A. Thomas -- Anniversary march : introducing Auld lang syne : op. 10 / J. Lawrence Ebb -- Two cradle songs = Zwei Wiegenliedchen / Herbert Botting -- Minuet from the overture to Berenice / G.F. Handel -- Funeral march = Marche funèbre : op. 35 / Franz Chopin -- March in B♭ / Wm. Faulkes -- The Son of God goes forth to war : postlude VI / Geo. E. Whiting -- Nocturne des anges : op. 18, no. 1 / George F. Vincent -- Hosanna! / Paul Wachs -- Roumanian bridal march / Herbert W. Wareing.

FOLK ELEMENTS IN TWENTIETH-CENTURY HUNGARIAN MUSIC

At the beginning of the twentieth century, composers Béla Bartók and Zoltán Kodály collected thousands of folksongs from the rural regions of Hungary. In an effort to preserve a part of their culture that they feared would be lost, they not only transcribed and catalogued these folksongs, but also incorporated the folk traditions they encountered into their own compositional style. This dissertation deals with violin music written by Bartók, Kodály and their Hungarian contemporaries that have in common the use of rhythms, modes, melodies, figurations and playing techniques sourced in folk traditions. The use of the Hungarian folk idiom in classical music was not exclusive to the twentieth century. From the late eighteenth century until the first decades of the twentieth century, composers utilized aspects of a popular eighteenth-century form of Hungarian folk music called verbunkos. What makes the use of folk music unique in the twentieth century is that, thanks to the work of Bartók and Kodály, composers found inspiration in the more authentic “peasant music.” Unlike the popular, urban verbunkos music, peasant music was the product of the more secluded village-music tradition, largely untouched by the influences of city life. In addition to stimulating a new focus on peasant music, Bartók and Kodály fully assimilated the folk idiom into their compositional toolkits, creating a new style of folk-inspired art music that influenced a generation of Hungarian composers. The new style included characteristic elements of both peasant music and the verbunkos tradition, such as ancient modes and scales, accompanimental and melodic rhythmic patterns, ornamentation, and phrase structures sourced in folk song. To demonstrate the implementation of the folk idiom by twentieth-century Hungarian composers, three recital programs were given at the University of Maryland that included works by Béla Bartók, Sándor Veress, Leo Weiner, Zoltán Kodály, Ernő Dohnányi, Zoltán Székely and György Kurtág. The works can be divided into two main categories: settings or transcriptions of folk material (e.g. Bartók’s Hungarian Folksongs) and compositions using classical forms that include the Hungarian folk idiom (e.g. Bartók’s Contrasts). Recital collaborators include Li-Tan Hsu, Evelyn Elsing, Elizabeth Brown, Shelby Sender and Samantha Angelo.

Symphonien

v. 1. Pianoforte.--v. 2. Violine.

Pastorale aus der Weihnachtsmusik (Concerto grosso Nr. 8) für 1 Violine (2 Violinen) Klavier

Originally for 2 violins, violoncello, strings, and cembalo.

Präludium, Fuge und Allegro. [music] : für Klavier zu 2 Händen : Es dur = E[flat[ major = Mi[flat] majeur : BWV 998 /

Analytical notes: p. 12-15.

Tango /

Originally for piano solo; transcribed by Mischa Elman for violin and piano.

Symphonien von L. van Beethoven für Piano-forte solo bearbeitet. [music].

Mode of access: Internet.

Waltzes, op. 39 for the pianoforte. [music] /

Mode of access: Internet.