First Position-New recital pieces for the tried and trusted Sassmannshaus Violin method.All pieces written in first position.With a second Violin part for duet performance.Available in freely accessible recordings on YouTube.These two collections give young students and teachers a rich selection of recital pieces either to complement the Sassmannshaus Early Start on the Violin method or to play independently from it. As all the pieces are written entirely in first position they can be used after just a few months of lessons.The Piano part may be played by the teacher or an advanced student. As an alternative the accompaniment can be played by a secondViolin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes folksongs but also less well-known gems as well as original pieces by the editors all precisely tailored to meet the needs of young students.Kurt Sassmannshaus the editor of a great many string editions in the Bärenreiter catalogue continues the tradition founded by his father Egon Sassmannshaus in the Early Start string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the Cello.

Complementing Bärenreiter's editions of the works for violin and piano based on the Urtext of the 'New Schubert Edition' comes Schubert's utterly charming Rondo in A major for Solo Violin and Strings. The Rondo dated 1816 is a one movement work containing lyrical as well as virtuoso solo passages and can equally be performed with single strings or with a larger string ensemble.Our new edition contains an informative introduction (Ger/Eng) by Schubert scholar Michael Kube who is also the arranger of the piano reduction.- A new edition of Schubert's perhaps most charming work for violin- Urtext of the 'New Schubert Edition'Barenreiter No. BA5653A

Introduktion und Variationen D802. Par SCHUBERT FRANZ. Originally for flute and piano, Schubert's reworking of 'Trockne Blumen' - the eighteenth song in his song cycle Die schöne Müllerin - is here adapted for the violin. It was quite common in Schubert's own time for composers to write works 'for flute or violin' and in keeping with this practice, violinist Jacqueline Ross has prepared this edition, along with notes on the musical background and critical commentary on the violin editing. Her research into 18th and early 19th century performance practice has been widely recognised and has influenced her recordings of baroque and classical repertoire. This includes the Naxos release of the complete works of Schubert, recorded on historical instruments, in which this adaptation of 'Trockne Blumen' is featured. Violinists will welcome this adaptation intended primarily for performers, as a vibrant and substantial addition to the repertoire. o Originally for flute and piano, Schubert's reworking of 'Trockne Blumen', the eighteenth song in his song cycle 'Die schöne Müllerin', is here adapted for the violin by Jacqueline Ross o Notes on the musical background and critical commentary on the violin editing are included o A vibrant and substantial addition to the repertoire/ Répertoire / Violon et Piano

White Sonata. This work is called White Sonata because it is played on the piano only on the white keys (C major - A minor). The subtitle refers to the child in all of us, regardless of age, who never wanted to grow up, but was forced to do so. With reference to the title of Peter Pan, the theme has to do with the shattered innocence of children who are subjected to abuse and decide to take refuge in themselves. Written around a lullaby, it refers to how to build an inner world to survive.

John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon music he composed for the film of the same name which won an Academy Award for best film score. The story spans three centuriesin the life of a magnificent but haunted Violin in its travels through space and time. Corigliano composed this 36-minute concerto in memory of his father the former concertmaster of the New York Philharmonic. For Violin andPiano reduction.

a cura di - edited by Rina You. Par TIRINDELLI PIER ADOLFO. The edition of the Andante e Polacca for violin and piano published here was realised from an autograph manuscript held in the library of the Conservatory of Santa Cecilia in Rome. An inspired melodic vein, with a cantability typical of Late Romantic Italian compositions, characterises the piece, especially in the first part. The Polacca distinguishes itself for its virtuosity: rapid scales, brilliant bowings and open string passages keep the bowed-string player engaged during the second and longest part of the piece. The recovery of this composition has occurred during a period which gives particular importance to the rediscovery of works composed in Italy around the turn of the twentieth century, rarely performed in concert series, which can only be fully appreciated through their promotion and dissemination in the form of musical editions and recordings. / Niveau : Avancé / Répertoire / Violon et Piano

Par DVORAK ANTONIN. On 18 January 1887 Antonín Dvorák (1841–1904) started composing his Romantic Pieces for violin and piano, opus 75 (B 150), completing that version on 25 January. They were performed for the first time in a private house two days later, with the composer writing to his publisher in Berlin: ‘Played here yesterday and very well received.’ For this edition reference has been made to a copy of the original manuscript and to the first edition. The small number of bow markings in the violin part of the piano score are original and have been left unaltered. These four contrasting movements are a welcome addition to the violin repertoire and a very effective alternative to Dvorák’s large-scale violin works, the Concerto in A minor and Romance in F minor. / Niveau : Avancé / Répertoire / Violon et Piano

This is a great collection of fresh and energetic pieces. The Piano part has been kept fairly simple while allowing gifted Pianists potential for improvisation. Scored for Violin and Piano accompaniment. Grade: 2 - 5

Mostly known for his Piano sonatas Nikolai Medtner did write a few sonatas for Violin showing his ability to write music that suited the unique sound of a violin with a folksy and syncopated feel in several conponents of the sonata. His life's work consists of fourteen piano sonatas three more with violin three piano concerti a piano quintet two works for two pianos many shorter piano pieces and 108 songs.

20 Easy Pop Pieces In 1St Position-Inject some fun into your music lessons with Hot Violin. It contains a wide variety of pieces from blues jazz rock and pop music.This book is suitable for beginners and is intended for lessons and first performances. The pupils are carefully introduced to technical and musical themes starting with several one-finger pieces before playfully working on the first-position fingerings.Additional parts are available for download free of charge. Thus various instrumentations are possible: with piano accompaniment with CD with the accompaniment of the teacher of other pupils or thanks to the notated chord symbols even with band.

Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim Jelly D?Aranyi in concert in London. Following the performance Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano producing a sound similar to the rich overtones of the Cimbalon) the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel laterorchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version complete with full score and performance material as well as in the composer?s earlier version for violin and piano. All known sources including letters have been drawn on for the new edition; one of the available sources consulted for the first time was a copy of ?Tzigane? from the estate of Jelly D?Aranyi which is today part of a private collection. The version for piano and violin contains besides the Urtext part a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D?Aranyi?s fingering