Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century, due, in large part, to his popular violin method. His Concertino remains a popular entry-level piece for students to this day.The piece is characterized by simplicity, clarity and beauty. The themes and melodies are easily identifiable by children, yet never trite and plain. They are catchy and perfectly reflect Küchler's educational ideology - 'to always separate the difficulties and never demand that the pupil overcome two difficulties at once?. The work is also available in an arrangement for solo violin with string quartet accompaniment (with double-bass ad lib.)(Schott, SE 1002). The viola part can be replaced by a third violin if necessary. By using the parts for multiple players, this can also be performed by a beginner string orchestra.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasure:Accompanying tracks of the pieces available as downloads / Violon Et Piano

First solo pieces for violin. 1st book in the series for violin and piano (schott edition)D. Gabrieli: Ploughman's SongJ. Brahms: Folk SongJ. Brahms: The HunterA.T. Gretchaninoff: Morning StrollA.T. Gretchaninoff: The JesterE. Humperdinck: Sleep SongJ.A. Hasse: Bourée and MenuetE. Grieg: Watchman's SongE. MacDowell: To a Wild RoseF. Schubert: AndanteF. Schubert: WaltzJ. Danbé: Minuet in DF. Schubert: Country DanceF. Schubert: Minuet and Trio (Symphonie No.5)L.v. Beethoven: Menuetto and TrioJ.P. Kirnberger: CarillonG.P. Telemann: Andante and AllegroW.A.Mozart: Minuet and Trio

Instrumentation : violin and piano Date de parution : 15/07/1979 Nombre de pages : 16 Collection : Edition Schott - Single Edition Format : New Edition portrait

Liebesleid (Love's Sorrow) is for Violin and Piano and is from Old Viennese Dances arranged by the virtuoso Violinist Fritz Kreisler. It is published as part of the highly respected Schott catalogue.

Among violinists and teachers, Oskar Rieding (1840-1918) is mainly known for his easily playable violin concertos especially for beginners. His beautiful pieces thrive on charming aesthetics which delight children of every age, teachers and audiences alike.Petite Ballade is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons / Violon Et Piano

Stravinsky's Tango is one of the standard works in the neoclassical repertoire and is presented here in an arrangement authorised by the composer himself.
/ Partitions classique / Cordes / Violon / SCHOTT

There is not a great deal known about the violinist, teacher and composer Edward Mollenhauer (1827-1914) from Erfurt. However, two of his compositions virtually immortalized him: the fantasia The Infant Paganini as well as the somewhat more difficult sister work The Boy Paganini (Schott ED 21703). Both are played with great enthusiasm by young violinists all over the world. Both compositions present a sparkling display of beautiful melodies and brilliant idiomatic figurations which are effective without being too difficult. / Violon Et Piano

Du compositeur Dvorak Antonin cette partition musicale dont le titre est Humoreske op. 101/7 a été composée pour tous les amateurs ou professionnels de Violon. Fan de Classique vous trouverez votre bonheur dans cette partition musicale des éditions Schott Music. / Violon Et Piano

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.

Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons Et Guitare