Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Par BRAHMS JOHANNES. This famous dance by Johannes Brahms has been effectively arranged in this classic version for Violin and Piano by J. Hubay./ Répertoire / Violon et Piano

Popular Classics for Violin and Piano est une collection rare qui dispose Violin part et la réduction de Piano séparée de 25 oeuvres de Brahms, Dvorak, Haendel, Herbert, Saint-Saëns, Schubert, Schumann, Mendelssohn, Massenet, Elgar et d'autres. Convient pour les violonistes de niveau intermédiaire, c'est une édition idéale pour les étudiants, les enseignants, les amateurs et les professionnels à utiliser pour la pratique, l'enseignement, et des récitals. / Niveau : Intermédiaire à Avancé / Recueil / Violon et Piano

Cohen Mary (Editor). Par COHEN MARY. Concert Repertoire for Violin combines imaginative arrangements with original pieces, all of which have been carefully selected and written for players of Grade 4-7 standard. The pieces are varied and fun and will help players to improve technically as they move towards tackling the more advanced repertoire. Air From Suite In D BWV 1068 (JS Bach) Badinerie From Suite In B Minor BWV 1067 (JS Bach) Chanson De Matin (Elgar) Corrente From Sonata Op 2 No 4 RV 20 (Vivaldi) Habanera (Bizet) Hungarian Dance No 4 (Brahms) Serenade (Solo) (Sculthorpe) Serenade (Tchaikovsky) Sicilienne (Paradis) Solveig's Song (Grieg) Torch Dance (German) Without Care (Reinecke) / Niveau : Assez Facile / Date parution : 2006-10-26/ Répertoire / Violon et Piano

Johannes Brahms Concerto pour violon en Ré majeur op. 77 Editeur: Michael Struck, Linda Correll Roesner Réduction pour piano: Johannes Umbreit Doigtés vl.: Frank Peter Zimmermann Edition Urtext, réduction pour piano, reliure paperback parties avec ou sans indications de doigté Pages: 123 (X, 50, 33, 30), Dimension 23,5 x 31,0 cm N° d'article HN 818 · ISMN 979-0-2018-0818-5 Déjà accueilli avec enthousiasme par les contemporains, l?unique concerto pour violon de Brahms reste encore aujourd?hui un morceau de répertoire majeur. Témoignage de la collaboration fructueuse qui s?était établie entre le compositeur et Joseph Joachim, est la cadence écrite et ajoutée par ce dernier. La réduction pour piano originale de Brahms, particulièrement exigeante sur le plan pianistique, a fait l?objet d?un «élagage» prudent pour la présente édition de la part de Johannes Umbreit. Se basant sur le texte de la «Neue Brahms-Gesamtausgabe» (nouvelle édition complète des ?uvres de Brahms), la présente édition Urtext reproduit en annexe une variante, jusqu?ici inédite dans les éditions pour la pratique, de la cadence de Joachim. Outre les doigtés et annotations originaux, elle présente aussi les propositions de doigté de Frank Peter Zimmermann.?

En Vol. 2 de la sonates pour violon, par Robert Schumann, le Wiener Urtext édition présente la Sonate F.A.E. composée conjointement par Schumann, Brahms et Albert Dietrich, ainsi que la version éditée, avec les mouvements de Brahms et de Dietrich remplacé, comme troisième Sonate de violon de Robert Schumann. La présente édition est basée sur l'édition publiée en 2002 dans la nouvelle édition complète de Schumann et donc sur les plus récentes conclusions musicologiques. Dans le cas de la Sonate F.A.E., c'est surtout une question de légers changements dans les domaines de la dynamique et l'articulation. Dans le cas du troisième Sonate de violon de Schumann, la présente édition diffère plus significativement la première édition, publiée en 1956 et la nouvelle édition légèrement révisée de 1988. L'ordre des mouvements moyens dont l'exactitude ne peut être clairement déterminée jusqu'à maintenant a été modifiée, par rapport aux éditions précédentes, en raison des documents nouvellement trouvées. En outre, la répétition de la première section de la partie moyenne noter... / Violon Et Piano

Par BRAHMS JOHANNES. La première Sonate pour violon en Sol majeur de Brahms est également connue sous le surnom allemand de Regenliedsonate («Sonate du chant de la pluie»), puisqu?elle cite dans son Finale des motifs mélodiques issus de deux des lieder du compositeur: Regenlied («Chant de la Pluie») et Nachklang («Écho», qui a également la pluie pour thématique). Le motif pointé initial du Finale parcourt déjà les deux premiers mouvements, contribuant ainsi à la cohérence interne de cette ?uvre merveilleusement expressive et élégiaque. Achevée en 1879, cette sonate fut accueillie avec enthousiasme par ses contemporains - Elisabeth von Herzogenberg, liée à Brahms par une profonde amitié, affirma qu?on devait «l?aimer, comme peu de choses en ce monde». Le texte musical de cette édition Urtext révisée repose sur la mise à jour parue dans la Nouvelle édition des ?uvres complètes de Brahms, gage suffisant de fiabilité scientifique. / Date parution : 2023-03-11/ Répertoire / Violon et Piano