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Violin and Piano
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Quatuor avec Piano (9)
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Choeur SAM (9)
4 Cellos (9)
3 Parties Similaires (9)
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Flute ensemble (9)
Mandolin (9)
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Vents (8)
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Choeur d'Enfants 1 à 4 Partie… (8)
Pocket, Study conductor (8)
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Solistes SSB (Solo B + Choeur … (8)
4 Parties Mixtes (Ou 3 Parties… (8)
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Choeur SATB, 2 Hautbois, 2 Cla… (8)
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Harpe et Quatuor à Cordes (8)
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Trio (7)
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Marimba (7)
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Orgue et Musique de Chambre (6)
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Violon, Instruments à Cordes … (6)
Piccolo, Piano (6)
Blockflöte (SA wechselnd) (6)
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Livres (6)
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Pennywhistle (6)
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Ensemble mixte (6)
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Orchestre: Choeur TTBB, 2 Flû… (5)
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Choeur D'Enfants 3-stimmig, Na… (5)
B Flat, E Flat and C Instrumen… (5)
Choeur d'Enfants à 1 Partie, … (5)
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2 Hautbois, 2 Clarinettes (Sib… (5)
Solistes, Div. Instruments à … (5)
3 Instruments A Cordes Ou A Ve… (5)
Choeur ST, 2 Violons et Basse … (5)
Clarinette, Violoncelle et Pia… (5)
Choeur Mixte (SATB/SATB) (5)
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Basson et Quatuor à Cordes (5)
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Analyse (5)
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Tambourin (5)
Solistes STB, Choeur SATB, ou … (5)
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4 Solistes (Esel, Hund, Katze,… (5)
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2 Instruments A Cordes (Ou Fl… (4)
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Donde va mi Paloma (Chile) - S… (4)
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Musique de Chambre et Piano (4)
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Piano et Quatuor à Cordes (4)
Eich, Katrin (4)
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Snare drums (4)
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Orgue Sans Pédale (3)
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Tuba, Euphonium ou Saxhorn ou … (3)
Piano, Oboe and Bassoon (3)
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33 Chanteurs (9 Voix, darunter… (3)
Saxhorn en Sib Basse Continue (3)
Cello, Organ (3)
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Facsimilé (3)
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Tuba en Sib Basse Continue (3)
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Musical dictation (3)
Treble (Alto) Recorder, Piano (3)
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Melody line, Piano (3)
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3 Clarinets (trio) (3)
Symphonic Band (3)
2 Trumpets, Keyboard (piano or… (3)
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2 Violins, Piano (3)
Cahier de musique (3)
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Choeur SATTB (3)
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Violon ou Mandoline (3)
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DVD Opera and Ballets (3)
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Musique Ancienne (3)
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Quintette de Cuivres (3)
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2 Sopranos (2)
Paroles et accords (2)
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Big Note Piano (2)
Choeur TTBB et Orgue (2)
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Darbouka (2)
Choeur de Femmes et Orchestre … (2)
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Soprano et Quatuor à Cordes (2)
Quatuor A Vent (2)
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Le Violon Classique - Niveau 1 (LABROUSSE-BAERT SARAH)
Violin and Piano
[Score and Parts]
-
Intermediate
FLEX Editions
Niveau 1. Par LABROUSSE-BAERT SARAH. Un recueil de 11 chefs d'oeuvre classiques ...
(+)
Niveau 1. Par LABROUSSE-BAERT SARAH. Un recueil de 11 chefs d'oeuvre classiques arrangés pour Violon et Piano : 1 - BACH - Gavotte de la Suite No. 3 en Ré Majeur, 2 - TCHAIKOVSKI - Chanson Triste, 3 - BACH - Aria de la Suite No. 3 en Ré Majeur, 4 - SCHUBERT - Ave Maria, 5 - VIVALDI - L'Hiver - Extrait des Quatre Saisons, 6 - MENDELSSOHN - Marche Nuptiale, 7 - WAGNER - Marche Nuptiale de Lohengrin, 8 - MOZART - Romance - Petite Musique de Nuit, 9 - MOZART - Allegro - Petite Musique de Nuit, 10 - GOUNOD - Ave Maria (avec Violin 2 opt.), 11 - PACHELBEL - Canon en Ré Majeur (2 violons and piano). Formation : Violon et Piano. Instrumentation : Violon, Piano. Niveau de Difficulté : 3/6 - Intermédiaire. Durée : >15. Style Musical : Classique, Pédagogique. Catégorie : Arrangement. Compositeur : LABROUSSE-BAERT Sarah. Arrangeur : LABROUSSE-BAERT Sarah / Niveau : Intermédiaire / Classique, Pédagogique / Recueil / Violon et Piano
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Le Violon Classique - Niveau 2 - Vol.1 (LABROUSSE-BAERT SARAH)
Violin and Piano
[Score and Parts]
-
Intermediate/advanced
FLEX Editions
Niveau 2 Volume 1. Par LABROUSSE-BAERT SARAH. Un recueil de 5 chefs d'oeuvre cla...
(+)
Niveau 2 Volume 1. Par LABROUSSE-BAERT SARAH. Un recueil de 5 chefs d'oeuvre classiques arrangés pour Violon et Piano : 1 - HAYDN - Serenade du Quatuor à Cordes Op. 3 No. 5, 2 - FAURE - Berceuse Op. 16, 3 - CORELLI - La Follia, 4 - MASSENET - Méditation de Thaïs, 5 - RIES - Perpetuum Mobile Op. 34 No. 5 - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Violon 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : Plus de 15 mns - Style Musical : Classique, Pédagogique - Catégorie : Arrangement - Compositeur : Sarah LABROUSSE-BAERT - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Recueil / Violon et Piano
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Ging Heut Morgen Ubers Feld (MAHLER GUSTAV)
Violin and Piano
Universal Edition
Fünf Ausgewählte Lieder. Par MAHLER GUSTAV. Mahler for violin and piano? Why n...
(+)
Fünf Ausgewählte Lieder. Par MAHLER GUSTAV. Mahler for violin and piano? Why not! The violin is probably the instrument most akin to the human voice and Mahler was a prolific song writer. Georgian violinist, Lisa Batiashvili, has chosen five songs, in arrangements by Ronald Kornfeil, to enhance her own and others’ concert repertoire. She offers a selection from “Aus der Jugendzeit”, “Fahrenden Gesellen” and “Des Knaben Wunderhorn”, including the gorgeous “Urlicht”. The full-throated piano accompaniments of these originally orchestral songs will not only do the songs justice but also remind us of their use in Mahler’s symphonies where, of course, the solo violin often featured. With no huge technical demands, these arrangements can be tackled even by intermediate players and will offer students a rewarding exercise in powerful yet lyrical playing./ Répertoire / Violon et Piano
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Romance En La Majeur (HAHN)
Violin and Piano
[Sheet music]
Heugel
Par HAHN. Composed by Reynaldo Hahn, Romance In A Major is a chamber piece for V...
(+)
Par HAHN. Composed by Reynaldo Hahn, Romance In A Major is a chamber piece for Violin and Piano, for upper-intermediate players. This melodious piece is written in one main movement and is perfect for a recital. Starting 'Très modere' with the main theme, the piece later become quieter 'calme' with some variations of this main theme. Really romantic, it is sometimes indicated which string to play and the Piano accompanies the Violin with some flawless arpeggiated semiquavers. Reynaldo Hahn was a naturalised French composer, conductor, theatre director and singer. Best known as a composer of songs, healso wrote many pieces and melodies for different instruments./ Répertoire / Violon et Piano
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Sonate En Ut Majeur (HAHN)
Violin and Piano
[Sheet music]
Heugel
Par HAHN. Having been considered as a 'fashionable' and 'cliche' composer of his...
(+)
Par HAHN. Having been considered as a 'fashionable' and 'cliche' composer of his day, Hahn 's compositions are possibly not as well-known as they ought to be. Sonata In C Major for Violin and Piano, however, shatter these prejudices held, representing the engaging diversity of the composer's music. Venezuelan-born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet, before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art andhis compositions often contain expressions of his otherwise hidden emotions and moods. Sonata In C Major contains a variety of different features, making for a pleasant and evocative piece for advanced violinists./ Répertoire / Violon et Piano
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STUDIO GHIBLI SONGS FOR VIOLIN and PIANO - EASY
Violin and Piano
Yamaha
8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghi...
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8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghibli cinemas 1. Nausicaa Requiem 2. My Neighbor Totoro 3. on a Clear Day 4. Le Temps des cerises(The Time of Cherries) 5. Princess Mononoke 6. The Legend of Ashitaka 7. Reprise 8. Mother Sea / Musique films - comédies musicales / Yamahamusic
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STUDIO GHIBLI SONGS FOR VIOLIN and PIANO - INTERMEDIATE
Violin and Piano
-
Intermediate
Yamaha
8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghi...
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8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghibli cinemas 1. Carrying You 2. Hey Let's Go 3. The Path of the Wind 4. Nausicaa of the Valley of the Wind - Opening theme 5. A Town with an Ocean View 6. Always with Me 7. Merry-Go-Round of Life 8. Ponyo on the Cliff by the Sea / Musique films - comédies musicales / Yamahamusic
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Sonata Movement For Violin And Piano C Minor Woo 2
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
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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
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Sonata For Violin And Piano A Major Op. 100
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
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
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Sonata For Violin And Piano D Minor Op. 108
Violin and Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
(+)
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
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Sonatas In F Minor And E-Flat Major For Violin And Piano
Violin and Piano
Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...
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Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano
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Violin All Sorts (Initial-Grade 1) (COHEN MARY)
Violin and Piano
[Sheet music]
Trinity Guildhall
Par COHEN MARY. An assortment of 19 pieces to pick and mix - from easy classics ...
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Par COHEN MARY. An assortment of 19 pieces to pick and mix - from easy classics to great new pieces, this collection covers it all! All Sorts is designed to fit the technique and capabilities of the young player, with easy-to-play piano accompaniments for the teacher. Also available for violin: **Trinity College London selected pieces (Violin 2010-2012): Pineapple, Pineapple, Mango (Cohen) Lullaby (Brahms) Nobody Knows the Trouble (Trad.) / Instrumental Music / Recueil / Violon et Piano
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Hungarian Dance #2 Arranged By J. Hubay For Violin And Piano (BRAHMS JOHANNES)
Violin and Piano
[Sheet music]
Stainer and Bell
Par BRAHMS JOHANNES. This famous dance by Johannes Brahms has been effectively a...
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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
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Popular Classics For Violin And Piano
Violin and Piano
[Sheet music]
-
Intermediate/advanced
Dover Publications
Popular Classics for Violin and Piano est une collection rare qui dispose Violin...
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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
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Real Repertoire for Violin (COHEN MARY)
Violin and Piano
[Sheet music]
Trinity Guildhall
Par COHEN MARY. Real Repertoire for Violin, part of the Real Repertoire series h...
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Par COHEN MARY. Real Repertoire for Violin, part of the Real Repertoire series has been carefully selected for the intermediate violinist, providing an essential repertoire that players will return to time and again. Pieces have been selected by Mary Cohen and include masterpieces by Bach, Mozart and Brahms as well as lesser known pieces by Bartok and Wieniawski. A lasting inspiration to violinists everywhere. / Instrumental Music / Recueil / Violon et Piano
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Hatikvah (The Hope) (ANDREW BEN (Arr)
Violin and Piano
[Sheet music]
Hal Leonard
Par ANDREW BEN (Arr.). Hatikvah (The Hope) is a 19th-century Jewish poem and mod...
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Par ANDREW BEN (Arr.). Hatikvah (The Hope) is a 19th-century Jewish poem and modern-day national anthem of Israel. In this romantic-style arrangement, Ben Andrew shares the melody between both the violin and piano. Through the use of subtle dissonance and a rich harmonic texture, the music conveys a sense of struggle, despair and sadness, as well as the eternal hope expressed in the original poem upon which the music is based. Perform this piece in your ABRSM Violin Grade 8, or Trinity College London Violin Grade 7 exams./ Répertoire / Violon et Piano
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