Arranged by Lindsey Stirling for Violin and Piano-Lindsey Sterling has created her own medley of songs penned by Benj Pasek and Justin Paul for the hit movie The Greatest Showman. This medley for Violin and Piano includes: A Million Dreams • Never Enough • Rewrite the Stars. Includes a separate pull-out Violin part.

Clarinet Sonata op. 107-When Reger submitted his Clarinet Sonata op. 107 for printing he remarked: 'You immediately notice that the work was originally for clarinet (viola) but that it can also be played by violin and piano.' He wrote the violin parthimself adjusting it to suit the needs of the violin. Even before the first performance of the original for clarinet he had tried out the work with a violinist. 'Should the critics claim once again that it is incomprehensible -then these gentlemen are simply first class asses. The work sounds very good is intimate chamber music and not difficult to play together.' There is nothing more to be said.

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.

Viennese Sonatas 1781-1788 with fragments and variations-This new publication in two volumes contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new Bärenreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully Bärenreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '... a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006)

13 Recital Pieces in First Position for Violin and Piano or Two Violins-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.

N007: Polka du Rossignol-Raymond Gallois Montbrun (1918-1994) published his Les Rêves De Janceline for Alto Saxophone and Piano in 1947 just three years after he won the Grand Prix de Rome. Along with his Violin Concerto 'Japan' Symphony and Concertstück for Clarinet and Piano  Les Rêves De Janceline for Violin and Piano remains popular to this day. Les Rêves De Janceline for Violin is made up of twelve easy pieces in variety of styles the seventh of these being The Nightingale's Polka. This movement addresses harmonics a modulation and articulation amongother aspects. As suitable and varied pieces for the progression of beginner to intermediate level violinists Gallois Montbrun's Les Rêves De Janceline cannot be missed.

with marked and unmarked string part-Just like many other violin virtuosos of the 19th century Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folkmusic traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness and are undoubtedlyamong his most successful compositions. In masterly fashion Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate???s Zigeunerweisen(HN 573) a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.

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.

Serenata Notturna by Edward Gregson was first performed by Helena Smart (violin) and Caroline Jaya-Ratnam (piano) at the String Final of BBC Young Musicians 2000 Royal Northem College of Music Manchester 23 February 2000.'As the title suggests my Serenata Notturna evokes the atmosphere of night music. Following a reflective opening where the pitch development outlines a twelve-note series the music gradually becomes more agitated developing into a kind of danse macabre eventually reaching a powerful climax. The music then subsides into a much more tranquil atmosphere and the previous dissonant material transposes itself into a simple melody(like a lullaby) uttered by the violin the outline of which both melodically and in terms of the accompaniment figuration has already been present in the piece since the beginning. Thus the turmoil of the first part of the work becomes transfigured into something much more peaceful - hence the quotation that prefaces the score: ?out of darkness cometh light?. After I finished the work it became apparent to me that it might become the sketch for the slow movement of a Violin Concerto on which I had just begun working. It did indeed form the basis of that slow movement and the concerto was premiered by Lyn Fletcher and the Halle Orchestra conducted by Kent Nagano at Bridgewater Hall Manchester in February 2000 the same month as Serenata Notturna itself was first played in public.'Edward Gregson

Par ADES THOMAS. Thomas Adès?s Violin Concerto ?Concentric Paths?, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti?s. Cast in three contrasting movements ? each linked by a preoccupation with circling musical figures ? the concerto, subtitled ?Concentric Paths? now occupies a place in standard repertoire. Two lithe, rhythmically driven movements ? Rings and Rounds ? bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. ?In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space.? The Guardian (Tom Service) / Date parution : 2023-07-31/ Répertoire / Violon et Piano

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar. 'Take the Lead Latin' features idiomatic arrangements of Latin classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun. Contents: Bailamos; Cherry Pink And Apple Blossom White; Guantanamera; La Bamba; La Isla Bonita; Livin' La Vida Loca; Oye Mi Canto (Hear My Voice); Soul Limbo

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar. 'Take the Lead Rock 'n' Roll' features idiomatic arrangements of rock 'n' roll classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun. Contents: Be-Bop-A-Lula; Blue Suede Shoes; Blueberry Hill; C'mon Everybody; Great Balls Of Fire; Jailhouse Rock; Let's Twist Again; The Green Door

Close your eyes and relax: these pieces are as pleasant and evocative for the listener as a cup of coffee, and they're charming to play too! Together with the CD and the piano accompaniment, the pieces are suitable for lessons, concerts or just music-making at home. Chord symbols facilitate accompaniment with guitar, accordion, or other instruments.Other editions: My Blue Violin (ED 21767) and The Merry Fiddler (ED 21768). / Violon Et Piano Accords