Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive 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 première; the ?child prodigy? Joseph Joachim; and Hubert Léonard, 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 Léonard. The letter informs us that the composer invited Léonard 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 Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard 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 Léonard?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)

A delightful repertory of first position pieces, arranged in order of difficulty, with piano accompaniment, by Betty M Barlow. / Violon

Spring Op. 24 F Major. This edition presents one of the most important chamber works for violin: the Sonata No. 5 for Piano and Violin (?Spring?, Op. 24) in F major by Ludwig van Beethoven. It allows you to work through the piece systematically and at different tempi with accompaniment. The recordings begin with the concert version of each piece, following which you will hear the piano accompaniment at slow and medium tempo to help you practise. Having mastered these slower versions, you?ll now be ready to play with piano accompaniment at the original tempo. All of the versions were recorded live.

8 Easy Pieces for Violin and Piano. This edition presents you with an array of musical highlights from two centuries of music history. It offers easy-to-play yet musically challenging arrangements for violin and piano, and enables you to learn the pieces systematically and at three different tempi with professional accompaniments. The recordings begin with the concert version of each piece, following which you will hear the piano accompaniment at slow and medium tempo to help you practise. Having mastered these slower versions, you?ll now be ready to play with piano accompaniment at the original tempo. All of the versions were recorded live.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Anthony Gilbert's On Beholding A Rainbow. Reduction for Violin with Piano accompaniment. I : Passacaglia nasconditaII : Cantilena - Slow and stillIII : Variazioni in moto perpetuo -flowing legato a little rubato On Beholding A Rainbow was commissioned by the BBC for Lydia Mordkovich and the BBC Philharmonic and written between 1992 and 1997 with some small revisions early in 1998.The work?s title refers to an important Jewish affirmation of trust and is a private message to its dedicatee the composer?s friend Ian Goldstone whose tragic death shocked the work into existence in its final form.The duration is 30 minutes.

Par IGUDESMAN ALEKSEY. Either of these pieces, for advanced players, would make an exceptionally unusual and entertaining concert item. The writers, Aleksey Igudesman and Hyung-ki Joo, have stunned audiences, critics and fellow musicians worldwide with their combined musicianship and hilarious antics. They have now applied their skills and written these pieces specifically for the competition 'Feast of Duos' but they are equally suitable for any concert performance. Performers are warmly encouraged to ignore or elaborate on the theatrical suggestions provided in favour of any ideas of their own and can perform their creations with good wishes from Aleksey Igudesman and Hyung-ki Joo. Funny, entertaining pieces that are nonetheless finely crafted musical creations in themselves Performance notes and acting cues are provided whilst performers may make changes and find their own interpretation Each piece can stand alone as a concert item/ Recueil / Violon et Piano

Violin and Piano reduction of Three Dances Op. 7 for Violin and Orchestra. The Three Dances are delightful miniatures written in 1915 in relatively carefree student days (relatively because the Great War was already a year old and Howells through ill health which nearly killed him in 1917 was exempted from active service). They were composed for a young fellow-student George Whittaker a highly gifted violinist who had entered the College aged only eleven. Certainly the music has no hint of the momentous events beginning to take shape and which would fundamentally affect one of his closest friends Ivor Gurney and kill a number of others.

30 intermediate recital pieces for violin and piano. Par . Following the successful first volume, Piccolo Paganini Vol. 2 contains 30 original intermediate-level pieces for violin and piano. Violin experts Christiane Schmidt and Gudrun Jeggle focus on musically sophisticated and rarely-heard concert pieces by composers ranging from Handel and Elgar to Pauline Viardot García and Grazyna Bacewicz. This appealing and attractive repertoire will help every little Paganini shine ? a real treasure trove for teaching, performance, and competitions. 30 intermediate-level compositions for violin and piano (mainly 1st and 3rd positions, but going up to 5th position) Appealing and musically rewarding repertoire pieces Ideal for developing fluency, bowing technique and basic double-stop playing With performance notes and short biographies For teaching, performance, and competitions / Date parution : 2023-06-01/ Recueil / Violon et Piano

Raymond Briggs' charming Christmas story about the adventures of a boy and the snowman that comes to life is a modern children's classic. The tales popularity has been further enhanced by frequent television broadcasts of theaward-winning cartoon film The Snowman.In this suite for Violin and Piano composer Howard Blake recreated the story in music based on the scenes from the film. The music includes the hit songWalking In The Air.