Dvorak's Opus 75, the Romantic Pieces, or Romantische Stucke, for Violin with Piano accompaniment, comprises four fabulous pieces, ideal for concert or recital performance. The solo Violin part is alsoincluded on a separate insert
SKU: LM.26850
ISBN 9790230968508.
In the Emilie's Eyes - For a blue note - You miss her - Ballad for Jodie - I prefer the Blue - To sing for heaven - He would like that - Michel lives in USA - Romantic tune - The End for Eddy - I'll be in the show - Ongobongo's star - Ernie is coming back - Modernesk - Just for Babe.
SKU: HL.50510770
ISBN 9790080137109. UPC: 073999180589. 9.0x12.0x0.083 inches. Anton Rubinstein; Gyorgyi Repassy.
The recent volume of the successful series 'Moments Musicaux which offers a rich selection from the popular masterpieces of the violin. In contains both original compositions for the violin and arrangements. The recent work of the great Russian master of romanticism is recommended for advanced students and performing artists.
SKU: HL.49019599
ISBN 9790001191043. UPC: 841886019546. 9.0x12.0x0.187 inches. Eds. Wolfgang Birtel and Ida Bieler.
Karol Szymanowski (1882-1932) is regarded as one of the most important Polish composers since Chopin. He received his formative musical training in Warsaw where he lived for many years and was also director of the Conservatoire and Music Academy. His compositional oeuvre comprises a large variety of styles: Szymanowski first leaned towards Chopin and Scriabin, then studied Richard Strauss and Igor Stravinsky, finally finding a style in which he combined impressionism and expressionism. His 'Mythes' for violin and piano from 1915 fell in a transitional period, turning away from late German Romanticism. They are expressive miniatures full of tonal refinement and impressionist charm and, thanks to their accessible virtuosity, perfect performance pieces. Contents: I. La Fontaine d'Arethuse • II. Narcisse • III. Dryades et Pan.
SKU: BR.EB-9386
ISBN 9790004188569. 0 x 0 inches.
The Violin Sonata No. 1 in E minor, op. 73, a Grand Sonata for Violin and Piano, occupies an important position in Joachim Raff's oeuvre: it reflects numerous artistic, aesthetic, biographical, and reception-historical aspects characteristic of Raff. The work was composed in Weimar in 1854, when Raff was going through a process of artistic self-discovery. He increasingly distanced himself from his mentor Franz Liszt and intensively explored Wagner as well as the ideal of absolute music - this is also reflected in the music of the sonata. While Raff described the first two movements as objectified, he perceived the last two movements as a piece of him, that is, not free of extra-musical influences.The 1st movement, with its expansive main theme, is reminiscent of Mendelssohn; the 2nd movement reveals the refinement of classical-romantic work with musical material. The 3rd movement, with its partly rhythmic, virtuoso accompanying figures and harmonically advanced passages, allows a deeply romantic, almost tormented insight into a soul life a la Sturm und Drang. The partly irascible last movement revisits already familiar themes and thus creates a musical framework.In collaboration with the Joachim-Raff-Archiv Lachen (CH)First Urtext Edition of the Grand Sonata for Violin and Piano.
SKU: HL.49017078
ISBN 9790001145251. UPC: 884088351410. 9.0x12.0x0.228 inches. Ed. Wolfgang Birtel fing./bowings by Friedemann Eichhorn.
In her music, the composer Johanna Senfter, student of Max Reger in Leipzig, devoted herself entirely to the late Romanticism. While her music had been regarded as old-fashioned for a long time, the public is now taking more and more interest in her works. The present Sonata in A major bears even Brahmsian traits and consists of four movements: moderately fast - slow - leisurely - lively.
SKU: BR.EB-9413
ISBN 9790004188873. 9 x 12 inches.
For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.
SKU: BA.BA09099-92
ISBN 9790006565733. 31 x 24.3 cm inches. Key: E minor. Preface: Larry R. Todd.
Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from B�¤renreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer�s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: HL.49047090
ISBN 9783795726966. UPC: 196288120612. 9.0x12.0x0.195 inches.
25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, forviolin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9.This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. The approach to the pieces is made easier by the accompanying audio tracks which, on the one hand, offers the opportunity to listen to and get to know the pieces beforehand, and, on the other hand, thanks to the separate piano accompaniments, provides first experience in ensemble playing and conveys the vivid joy of music-making. When the tracks were recorded by Prof. Benjamin Bergmann, violin, and Leonid Dorfman, piano, they deliberately decided in favour of moderate tempos to make it easier for the young violinists to play along with the piano part. A treasure trove for auditions at schools and music schools.
SKU: HL.50510790
ISBN 9790080125304. UPC: 073999945294. 9.0x12.0x0.178 inches. English, German. Gusztav Szeredi-Saupe; Maria Vermes.
Medium/difficult level.
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