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UKULELE
Violin and Piano
NARROW BY INSTRUMENTATION
NARROW BY INSTRUMENTATION
Piano, Vocal and Guitar (5025)
Piano solo (2948)
Choral SATB (2316)
Concert band (1987)
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Piano, Voice (920)
Choral 3-part (807)
Marching band (743)
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Violin (549)
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Organ (432)
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Flute (384)
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Ukulele (324)
Easy Piano (299)
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Trumpet (283)
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Voice solo (211)
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Keyboard (176)
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Viola (127)
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1 Piano, 4 hands (125)
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Clarinet and Piano (117)
Piano and Orchestra (109)
French horn (107)
High voice, Piano (104)
All Instruments (104)
Recorder (103)
Banjo (97)
Bb Instruments (95)
Musical course - Solfege (93)
Divers (93)
Choral SSAA (87)
Children choir (81)
Mandolin (75)
B Flat, E Flat, C and Bass cle… (75)
Accordion (70)
Alto Saxophone and Piano (67)
Trumpet, Piano (67)
Viola, Piano (63)
Low voice, Piano (63)
Opera (58)
Soprano voice, Piano (54)
Voice, Guitar (54)
Double Bass (53)
Eb Instruments (52)
Harp (51)
Brass Quintet: 2 trumpets, hor… (50)
Medium voice, Piano (50)
Piano Trio: piano, violin, cel… (49)
2 Violins (duet) (49)
School Ensemble (47)
Choral Unison (47)
Flute and Guitar (46)
Tenor voice, Piano (45)
2 Flutes (duet) (44)
Chant (44)
Chamber Orchestra (40)
Harmonica (40)
Children choir, Piano (38)
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Descant (Soprano) Recorder (38)
Violon Solo, Violoncelle Solo,… (36)
2 Pianos, 4 hands (36)
Soprano voice (35)
Guitare (35)
Oboe (35)
Oboe, Piano (duet) (34)
Music Theory (34)
2 Cellos (duet) (34)
Woodwind Quintet: flute, oboe,… (33)
Partition de Poche (33)
2 Clarinets (duet) (31)
String Trio: violin, viola, ce… (29)
Dulcimer (28)
Tenor voice (28)
Percussion (28)
Piano, Voice, Guitar tablature… (28)
French Horn and Piano (28)
Flexible Instrumentation (27)
Saxophone and Piano (26)
2 Saxophones (duet) (26)
Trombone and Piano (26)
Baritone voice, Piano (24)
Mezzo-Soprano voice, Piano (24)
Solistes SATB, Choeur SATB, 2 … (24)
Pennywhistle (23)
Soli (SATB), Choeur Mixte (SAT… (23)
Band Scores (23)
Piano Accompaniment (22)
Musical Awakening (22)
Wind ensemble (22)
2 Recorders (duet) (21)
2 Trumpets (duet) (21)
B Flat, E Flat and C Instrumen… (20)
Big Note Piano (20)
ENS::Ensemble (20)
Flute, Orchestra (18)
Big Band (18)
Bass Clef Instruments (18)
Bassoon, Piano (duet) (18)
Bassoon (17)
Saxophone Quartet: 4 saxophone… (17)
Ensemble A Vent (17)
Piano Quintet: piano, 2 violin… (16)
Flute ensemble (16)
Guitare Electrique (16)
Oboe, Violin, Viola and Violon… (16)
Double bass, Piano (duet) (16)
Piano, Guitar (Chords) (16)
Conducteur (15)
Concert Band/Harmonie (15)
Violin, Cello (duet) (15)
Choral CD (15)
Choral SSATB (14)
SB, 4 Parties Mixtes et Orches… (14)
Low voice (14)
High voice (14)
Clarinet Quartet: 4 clarinets (14)
Harpsichord (14)
Biography (14)
Treble (Alto) Recorder (14)
2 Guitars (duet) (14)
Brass Quartet: 2 trumpets, hor… (13)
Autoharp (13)
Recorder Ensemble (13)
Tuba (13)
Mezzo-Soprano voice (13)
Snare drums (12)
String Trio: 2 violins, cello (12)
Violin, Viola (duet) (12)
Violin, Basso continuo (12)
2 Violas (duet) (11)
Solo A, Choeur SATB/SATB, 2 Or… (11)
Flute Trio: 3 flutes (11)
Clavier Electronique et Ligne … (11)
Saxophone (band part) (11)
String Quintet: 2 violins, 2 v… (11)
Solistes STBarB, Choeur SATB, … (10)
Solistes SATB, Choeur SATB, 2 … (10)
Cajon (10)
Choral, Orchestra (10)
2 Trombones (duet) (10)
Lyrics only (10)
CD (10)
String quintet (9)
SATB, 4 Parties Mixtes et Inst… (9)
Solistes SATB, Choeur SATB, Fl… (9)
Solistes SATB, Choeur SATB, 2 … (9)
Solistes SATB, Choeur SATB, 2 … (9)
Baritone voice (9)
Solistes SATB, Choeur SATB, 2 … (9)
Percussion Ensemble (9)
Solo S, 2 Hautbois ou 2 Flûte… (9)
Vocal duet, Piano (9)
Soli (T (Evangelist), B (Jesus… (9)
Tenor Saxophone and Piano (9)
DVD concert (9)
Cello, Orchestra (9)
Piano Quintet: piano, violin, … (9)
Flute Quartet: 4 flutes (9)
Viola, Organ (9)
Solistes SATB, Choeur SATB, Ba… (8)
Clavecin Et Instruments A Cord… (8)
Vibraphone (8)
Solistes ST, Choeur SSAATB, 2 … (8)
Flûte Traversière, Hautbois,… (8)
Solo A, Timbales, Percussions … (8)
Euphonium (8)
Violin, Guitar (duet) (8)
Clarinet, Orchestra (8)
Voix Mixtes (8)
Flute, Clarinet (duet) (8)
Solistes SSA, Choeur SATB, 2 F… (8)
Cello, String Bass (duet) (8)
Violon, Instruments à Cordes … (8)
Solistes SATTBarB, Choeur SATB… (8)
Quintette avec Piano (8)
Recorder, Piano (8)
Brass Quartet (8)
Voice and Orchestra (8)
Lute (8)
Educatif (8)
Ensemble à Cordes et Piano (7)
Solistes SSATB, Choeur SSATB, … (7)
Soli (ATB), Choeur Mixte (SATB… (7)
Solistes SATB, Choeur SATB, Or… (7)
2 Choeurs Mixtes (SATB Et SATB… (7)
Travaux Pour Choeurs (7)
Treble (Alto) Recorder, Piano (7)
Quintette à Cordes (7)
Dobro (7)
Saxophone Baryton (7)
Clavecin (7)
Voix et Orff-Instruments (7)
Fiddle (6)
Klavier und Orchester (6)
Orchester (6)
Trombone or Euphonium (6)
Solistes, Div. Instruments à … (6)
Solistes SATB, Choeur SATB, Pa… (6)
Organ, Piano (duet) (6)
Guitar Tab, Voice, Bass, Drum (6)
Solistes STB, Choeur SATB, (Ba… (6)
Solistes SATB, Choeur SATB, 4 … (6)
Baryton ou Tuba, Cor et Fanfar… (6)
Gemischter Chor (SATB/CantoATB… (6)
Fake Book (6)
Baritone Saxophone (6)
Trombone (band part) (6)
Violin, Viola and Orchestra (6)
Piccolo, 2 Flûtes Traversièr… (6)
3 Recorders (trio) (6)
Flute, Cello, Piano (trio) (6)
Chant et Guitare (6)
3 Clarinets (trio) (6)
Chamber Music (6)
Ocarina (6)
Voix Mixtes SAB et Piano (6)
Trombone 2 (6)
Choral SSAATTBB (6)
Violon 2 (6)
Concert band, Choral (5)
Cello Ensemble (5)
Flute, Violin, Violoncello and… (5)
Choeur Mixte (SATB), Orchestre… (5)
Piccolo, Piano (5)
Solistes SATB, Choeur SATB, 2 … (5)
Recorder Quartet (5)
Choeur SS (SA), 2 Violons et B… (5)
Violon, Viole Et Orchestre (5)
Piccolo (5)
Jazz Ensemble (5)
Voix, Flûte à Bec et Percuss… (5)
Soli (AB), Choeur Mixte (SATB)… (5)
Soprano, Piano (5)
Trombone 3 (5)
Clarinette Alto et Piano (5)
Clarinet Ensemble (5)
Guitar and Bass Tablatures, Ch… (5)
String trio (5)
Saxophone ensemble (5)
Choeur SATB, 2 Clarinettes (2 … (5)
2 Violins, Piano (5)
Stationery (5)
Lap Steel Guitar (5)
Xylophone (5)
Saxophone Alto 2 (5)
Accordion ensemble (5)
Ensemble (5)
Basse (5)
Descent (Soprano) Recorder, Pi… (5)
Timpani (5)
Soprano Saxophone (5)
Xylophone or Marimba or Vibrap… (4)
Clavier ou Orgue Electronique (4)
Flûte Traversière, Clarinett… (4)
Trio à Cordes (4)
Clarinette et Quatuor à Corde… (4)
Organ, Percussion (4)
Flûte et Mandoline (4)
English horn, Piano (4)
Clarinet Quintet: Clarinet, St… (4)
Violon, Alto, Violoncelle et C… (4)
Percussion et Violoncelle (4)
Voice, String Quartet (4)
Solistes STB, Choeur SATB, ou … (4)
Madrigaux (4)
Piano Quartet: piano, 2 violin… (4)
Clarinet (band part) (4)
Violoncelle, Contrebasse, Bass… (4)
Clarinet, Violin, Cello, Piano… (4)
SSSAA et Violon (4)
Viola and orchestra (4)
2 Pianos, 8 hands (4)
Choral, Organ (4)
Quatuor à Cordes et Enregistr… (4)
Trompette (pour Quintette De C… (4)
Flûte Traversière, Hautbois,… (4)
Violon, Violoncelle, Alto et C… (4)
2 Violons, Alto, Hautbois, Cor… (4)
Sextuor (4)
Trompette, Piano, Instruments … (4)
Guitar, String Quartet (4)
Double Quintette de Bois et Co… (4)
Soli [AT] et Orchestre (4)
Flûte Traversière, Violon, A… (4)
Trumpet and Guitar (4)
Flûte, Clarinette, Piano, Vio… (4)
Trumpet (band part) (4)
Ensemble Flexible (4)
Quatuor à Cordes (Piano ad li… (4)
Tuba and Piano (4)
:: (4)
Trumpet , Piano (4)
Woodwind Quintet (4)
Flûte Traversière, Alto et V… (4)
Vocal duet, Piano and Guitar c… (4)
Percussion, Piano (duet) (4)
Flute, Violin, Viola (4)
Flûte Traversière, Guitare, … (4)
Flûte Traversière, Hautbois,… (4)
Viola, Cello (duet) (4)
5 Instruments à Vent (4)
Flûte à Bec et Piano (4)
2 Violons Hautbois et Orchestr… (4)
Oboe, Flute (4)
Flûte à Bec Basse ou Flûte … (4)
Choeur Mixte (SSATB) Et Instru… (4)
Djembe (4)
Solo S, Choeur SATB, 2 Clarine… (4)
Choeur SATB et Orchestre (4)
Piano, Chant et Guitare Tablat… (4)
Mariachi (4)
Violin, Organ (4)
Accessoire (4)
Flute, Violoncello (4)
Viola da Gamba (4)
Harp, Flute (duet) (4)
Flûte Traversière Cordes et … (4)
Chorale (4)
4 Double Basses (4)
Concert Band ou Harmonie et 3 … (4)
Medium Voice (4)
Percussions (4)
Trompette 3 (4)
Melody line, Piano (4)
Voix Hautes (3)
Solo, Choeur SATB, 2 Trompette… (3)
Flute, Oboe, Piano (trio) (3)
Tuba or Euphonium or Saxhorn (3)
Choral SSAB, Piano (3)
Voice and Big Band (3)
Flute, Viola and harp (3)
Flute, Violin, Piano (3)
Voice, Clarinet, Piano (3)
Violon, Cordes et Basse Contin… (3)
Choeur Mixte (SSATB) et Instru… (3)
Vocal duet (3)
Choeur SSATTB et Basse Continu… (3)
Guitare Tablatures Classique (3)
Violin, Clarinet, Piano (trio)… (3)
Oboe, Clarinet, Bassoon (trio)… (3)
String Quartet : 4 violas (3)
Piano, Violon et Cor ou Alto o… (3)
Brass Quartet: 4 trombones (3)
Concert Band et Tuba (3)
Piano, Oboe and Bassoon (3)
1 Piano, 6 hands (3)
Symphonic Band (3)
Solistes ATB, Choeur SATB, Cor… (3)
Oboe and Orchestra (3)
Solo S (Garçon) T, HauptChoeu… (3)
Guitar and String Quintet (3)
2 Violins and Basso (3)
Cello, Guitar (duet) (3)
Clavier, Guitare Et Voix (3)
Organ and Brass Quartet (3)
Handbells (3)
Euphonium or Saxhorn and Piano… (3)
Scores (3)
Flute, Clarinet, Piano (trio) (3)
Saxophone en Mib et Piano (3)
2 Bassoons (duet) (3)
Guitare et Voix (3)
Flute, Oboe, Clarinet, Bassoon… (3)
Solistes SATB, Choeur SATB, 2 … (3)
Choeur (Unisson), Voix Hautes … (3)
Choeur De Femmes A 3 Voix (Cho… (3)
Violon II (3)
Saxhorn and Piano (3)
Ensemble de Tubas ou Euphonium… (3)
Harpsichord and Strings (3)
Matériel D'Orchestre (3)
3 Tubas (3)
Flute, Violin and Violoncello (3)
Concert Band ou Harmonie et Ba… (3)
Saxophone et Trio à vent (3)
Libretto (3)
Choeur Mixte, Piano et Orchest… (3)
Tuba et Hélicon (3)
Organ, Trumpet (duet) (3)
Choeur De Femmes (Ou D'Hommes)… (3)
Ensemble Divers (3)
Choeur et Orchestre (3)
Bass Clarinet (3)
Conga (3)
Violoncello, Basso continuo (3)
Saxophone Ténor et Piano (3)
Guitare Classique et Fingerpic… (3)
Bongos (3)
Choeur De Jeunes Et Piano (3)
Voix et Orchestre (3)
Trompette I (2)
4 Cellos (2)
Flute (band part) (2)
Choeur SATB/SATB et Basse Cont… (2)
Clavier et Clavier Electroniqu… (2)
Folk Ensemble (2)
ST (A) BarB et Piano (2)
Klavierauszug : Gemischter Cho… (2)
Choeur (SA), 2 Violons et Bass… (2)
Trombone 1 (2)
SOP/BAR/ENS::Soprano, Baritone… (2)
Soli, Gemischter Chor 1 & 2, … (2)
Concert Band ou Harmonie et Cl… (2)
Accordion, Flute (2)
Trumpet and String Quartet (2)
Violon 1 (2)
Voix Moyenne(s), 3 Clarinettes… (2)
Flute, Bassoon (duet) (2)
Quintette (2)
Cor (pour Quintette De Cuivres… (2)
3 Guitares Cubaines Tablatures… (2)
Clarinette, Basson, Trompette… (2)
Percussion (band part) (2)
Piano Quintet: mixed chamber i… (2)
Flûte à Bec Alto et Instrume… (2)
Flute, Basso continuo (2)
2-6 Flûtes à Bec [Aa/St/Stt/… (2)
12 Voix (2)
2 Clarinets, Piano (2)
2 Flutes, Piano (2)
Carillon (2)
Flute, Violin (2)
2 Parties Voix Aigues (SS) Et … (2)
CLT/ORCH::Clarinette, Orchestr… (2)
Brass Quartet: 2 trumpets, 2 t… (2)
VCE/VLN/VLC/DB::Voice, Violin,… (2)
Baryton ou Tuba. Cor et Brass … (2)
Piano (band part) (2)
4 Bassoons (2)
Tout Instrument (2)
Choeur Mixte Et Orgue (2)
BAR/STR QUARTET::Baryton, Quat… (2)
Solo Piano (2)
Horn and Orchestra (2)
Choeur D'Enfants (Ou De Femmes… (2)
Clavier Numérique (2)
Soprano, SATB et Orchestre (2)
Baryton ou Tuba et Brass Band (2)
Euphonium et Orchestre d'Harmo… (2)
Voix, Flûte à Bec et Orff-In… (2)
Base Musicale (2)
Flûte à Bec Soprano ou Flût… (2)
VCE/FLT/VLC/DB::Voice, Flute, … (2)
Electric bass, Drums (2)
2 Marimbas (2)
Trombone 4 (2)
Cahier (2)
Saxophone en Mib (2)
Brass Quartet (2 Trumpets, Ho… (2)
Soprano voice, Orchestra (2)
Electric Bass (band part) (2)
Violon I (2)
Brass Trio (2)
Tous instruments (2)
E Flat Instruments (2)
Opéra Full Score (2)
WIND 5TET::Quintette · Vent (2)
Saxophone, Guitare Electrique,… (2)
Tuba (pour Quintette De Cuivre… (2)
Chant et Basse Continue (2)
Clarinet, Guitar (duet) (2)
Tenor Banjo (2)
Saxophone and Organ (2)
Choeur D'Enfants (Ou De Jeunes… (2)
Voice, Organ (2)
3 Voix (2)
OPERA::Op‚ra (2)
Flûte Traversière et Piccolo… (2)
Chant et Réduction Piano (2)
Alto voice, Piano (2)
Voice (2)
Bass Clarinet, Piano (2)
Voix solo - piano (2)
Nursery rhyme (2)
Cor Français (2)
Trumpet, Trombone (duet) (2)
Alto Et Choeur Mixte (SATB) (2)
Clavier ou Piano (2)
Violin, Horn and Piano (2)
Solistes (ATB), Choeur Mixte (… (2)
Cornet and Piano (2)
Choeur et Piano (2)
SOP/PFA::Soprano, Accompagneme… (2)
SOP/CLT/STR QUARTET::Soprano, … (2)
Voice Mezzo-Soprano, Orchestra… (2)
4 Percussions (2)
Ensemble Flexible à 5 Parties… (2)
Livret (2)
Soprano, Choeur Mixte (SATB), … (2)
MAND::Mandolin (2)
Orchestre d'Harmonie 4 Voix et… (2)
Drum (band part) (2)
Ukulélé Soprano (2)
8 Bassoons (2)
Double bass, Orchestra (2)
Choeur SA Et Piano (2)
Basse Electrique (2)
Basse, Alto, Ténor et Piano (2)
REC/VLN/VLA/VLC::Fl–te … B… (2)
Baryton et 4 Voix D'Hommes (2)
Soprano ou Ténor ou Mezzo-Sop… (2)
Voix Haute (2)
Saxophone Soprano et Piano (2)
Musique de chambre (2)
Guitar (band part) (2)
Oboe, Cello and Piano (2)
Clarinette (2)
Violoncelle, Contrebasse Et Ba… (2)
2 Flutes and Guitar (2)
Voix Elevée(s)/Moyenne(s) Et … (2)
Mandoline et Violon (2)
Trompette04 (2)
Chœur Mixte SATB et Quatuor … (2)
Choeur De Femmes (SS) Et Piano… (2)
Carte Postale (2)
Piano, Guitar (duet) (2)
Solistes (AT) Et Choeur Mixte (2)
Lyrics & Chords (2)
Concert Band / Harmonie (2)
String Trio: 3 violins (2)
Trombone (pour Quintette De Cu… (2)
Male Voice (2)
2 Mandolines et Basse Continue… (2)
Choeur De Femmes (SSA) Et Pian… (2)
Partition D'Ensemble (2)
2 ou 3 Timbales et Piano (2)
SOP/CLT/VLA/VLC/DB::Soprano, C… (2)
Soprano Et Orchestre De Chambr… (2)
Voix et Instruments (2)
Bodhran (2)
Percussions et Concert Band ou… (2)
Chanson (2)
5 Recorders (2)
12 Parties de Choeur a Cappell… (2)
Baritone Ukulele (2)
French horn (band part) (2)
Solistes, Choeur Mixte (SATB) … (2)
2 French horns (duet) (2)
Choral Soprano solo, SATB, Key… (2)
Soprano Saxophone and Piano (2)
Opéra (2)
3 Trombones (trio) (2)
Instruments A Vent (2)
Oboe, Basso continuo (1)
BASS::Bass Voice (1)
TBN/TBA/PFA::Trombone, Tuba, A… (1)
ENS/ELEC::Ensemble d'cole, … (1)
Piano Trio: Violin, Viola, Pia… (1)
Melody Line, Lyrics & Chords (1)
CLT/TPT/EUPH/TSAX::Clarinet/Tr… (1)
ST (A) BarB et Orchestre (1)
Piano et Hautbois ou Instrumen… (1)
VCE/GTR::Voice, Guitar (1)
Paroles et accords (1)
Oboe / Violin / Recorder / Fl… (1)
Soli, Chor und Klavier (1)
Guitare Fingerpicking (1)
Choral SSATBB (1)
Voix Moyenne (1)
Voix Haute(s) (1)
Chœur Mixte [SATB] et Orchest… (1)
Bassoon / Cello (1)
5TET/STR ENS::Quintet, String … (1)
Quatuors de Flûtes à Bec et … (1)
SA(T)B (1)
Orgue Sans Pédale (1)
Petit Orchestre (1)
Violoncelle, Basse et Accompag… (1)
Baryton et Quatuor à Cordes (1)
Voix Moyenne ou Voix Basse et … (1)
Contrebasse (Partie séparée)… (1)
Choeur De Femmes (SA) (1)
Choeur Mixte (SA Hommes) Et Or… (1)
TEN/SATB::Tenor/SATB (1)
VLA/PF::Viola, Piano (1)
Instrument Cuivre En Mib (1)
Guitare (Résonateur) (1)
Solistes SATB, Choeur SATB, Ha… (1)
Instruments à Cordes et Orgue… (1)
Viola da Gamba, Basso continuo… (1)
Tenor Et 14 Instruments (1)
Voix Moyennes et Piano ou Clav… (1)
Soprano, Baryton et Piano (1)
Flute, Violin, Guitar (1)
20 Instruments Avec Choeur Mix… (1)
Saxophone Alto 1 (1)
Violin ensemble (1)
Tenor, Violon Et Piano (1)
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Maria Theresia Von Paradis: Sicilienne: Violin: Instrumental Work
Violin and Piano
Schott
Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria The...
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Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria Theresia Von Paradis' Sicilienne is the most famous of her works. Dushkin later claimed that he had discovered this piece as a keyboard work and had recast it for violin and piano but it is fairly certain that the piece was in fact composed by Dushkin. However the doubtful parentage of the piece had never dampened its popularity and it is still widely used today. Arranged for Violin or Cello with Piano accompaniment.
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Vision Flamboyante (BRENET THERESE)
Français
Violin and Piano
[Sheet music]
Lemoine, Henry
Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire ...
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Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire / Violon et Piano
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Bach J.s. - Concerto In G Minor Bwv 1056 - Violon and Piano
Violin and Piano
Barenreiter
Bach, Johann Sebastian Concerto for Violin, Strings and Basso Continuo G minor R...
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Bach, Johann Sebastian Concerto for Violin, Strings and Basso Continuo G minor Reconstructed from BWV 1056 - Reconstructed from the Urtext of the ?New Bach Edition? - Meticulous analysis and evaluation of the sources - Interpretative leeway for keyboard players This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach?s arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion.
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Alla madre (HEINIO MIKKO) (HEINIO MIKKO)
Violin and Piano
Fennica Gehrman
Par HEINIO MIKKO. Mikko Heiniö's Alla madre (2007) abandons the traditional vir...
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Par HEINIO MIKKO. Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, ?Arrival?: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the second movement, entitled Aura, ?Air or Wind?, does the initiative pass to the solo violin as it sets light to notes in the orchestra harmony like individual lamps. And not until the end of the second movement and the beginning of the third does the solo violin play completely on its own. The title of the first movement, ?Arrival?, underlines the event, the dramaturgy, whereas that of the second movement, ?Aura?, alludes to the texture and the shimmering space. The third movement is the most strongly emotional, as the name Carezza, ?Caress? suggests. This product includes the solo part and the piano reduction (B4 sized). The orchestral material is available from the publisher. The orchestration: 3(III picc)3(III ca)3(III=bcl)3(III=cfg)-4331-13-hp-str / Date parution : 2023-01-24/ Répertoire / Violon et Piano
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Concerto For Violin, Strings And Basso Continuo G Minor (BACH JOHANN SEBASTIAN)
Violin and Piano
[Sheet music]
Barenreiter
Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in ...
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Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano
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Lennox Berkeley: Five Pieces Op.56: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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Intermediate/advanced
Chester
Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and co...
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Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer gave the first performanceon 31 July 1962 at the Royal Albert Hall London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately while at the same time the whole set of fiveconstitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone and its inversion plays an important part in every piece. Thus the first piece which is of a slow and meditativecharacter begins with this theme in the bass. It is also heard in the first entry of the solo part and thereafter every episode is in some way derived from it. The next piece a vigorous and strongly marked ‘allegro’ uses thesemitone of the original figure as its starting point. A second theme appears first on the horns and is later taken up by the solo violin while a third section has the initial idea as its accompaniment. Next comes an extendedscherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the firstsection violas and cellos are divided in the middle section and all the strings are used in the last which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others concernedmainly with giving the soloist material for display but not unconnected with what has gone before.
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin and Piano
Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...
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for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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RAVEL MAURICE - SONATE / BERCEUSE SUR LE NOM DE GABRIEL FAURE - VIOLON and PIANO
Français
Violin and Piano
Barenreiter
Ravel, Maurice
Sonata / Berceuse sur le nom de Fauré for Violin and Piano<...
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Ravel, Maurice
Sonata / Berceuse sur le nom de Fauré for Violin and Piano
- New scholarly-critical edition of Ravel?s famous sonata
- First scholarly-critical edition of the ?Berceuse sur le nom de Fauré?
- Foreword on the historical context and performance practice issues (Eng/Ger) as well as a Critical Commentary (Eng)
Ravel worked on his Sonata for Violin and Piano for four years (1923?1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the ?fundamental incompatibility? of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a ?perpetuum mobile? finale.
This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the ?Berceuse sur le nom de Fauré? which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Fauré?s name. / Partitions classique / Cordes / Violon / BARENREITER
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Paul de Keyser: The Young Violinist's Repertoire 2: Violin: Instrumental Album
Violin and Piano
[Sheet music]
-
Easy
Faber Music Limited
for Violin and Piano-The Young Violinist's Repertoire Book 2 continues the groun...
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for Violin and Piano-The Young Violinist's Repertoire Book 2 continues the groundwork started in the first book and provides even more material from the vast literature for violin. Arranged progressively it takes the young player from the earliest stages up to an intermediate standard. There is technically and musically something here for every type of pupil.In this series of four books music is brought together from all over Europe and from all periods. Altogether they provide an invaluable source of material and make up an attractive library of simple classics for the learner violinist. These pieces are all for Violin with Piano accompaniment.The soloViolin part is also included on a separate insert.
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Ole Bull: La Melancolie: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Wilhelm Hansen
La Melancolie is a famous melody first written by Ole Bull in 1850. It is often...
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La Melancolie is a famous melody first written by Ole Bull in 1850. It is often known under the name I Ensomme Stunde (?In Moments of Solitude?). It has been arranged here for solo Violin with Piano accompaniment. Ole Bull (1810-1880) was a Norwegian composer Violin virtuoso and nationalist. He started playing early in life performing as a soloist with the Bergen Philharmonic orchestra before the age of ten. He later studied in Paris where he met Chopin Rossini and Paganini before launching a highly successful career as a touring virtuoso performing all across the UK North America and mainland Europe. Few of hiscompositions have survived but perhaps best known is his Saeterjentens Sondag.
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Jones: Viennese Fiddler: Violin: Instrumental Album
Violin and Piano
[Score and Parts]
Boosey and Hawkes
Viennese music has become almost synonymous with Johann Strauss II and his great...
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Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.
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Alexandra Wood: Spectrum for Violin + CD: Violin: Instrumental Album
Violin and Piano
[Sheet music + CD]
ABRSM Publishing
16 contemporary pieces for violin-Spectrum For Violin is an exciting introductio...
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16 contemporary pieces for violin-Spectrum For Violin is an exciting introduction to the music of today for all violinists. The 16 pieces included have been specially commissioned from some of today's leading composers and reflect current compositional trends. With at least one piece at each of Grades 1 to 8 there's something here for players of all ages and abilities.Included is a a recording of the 16 pieces performed by violinist Alexandra Wood - compiler of this volume - and pianist Thalia Myers. The CD also contains recorded accompaniments for the two works composed for Violin and soundtrack.With pull-out Piano accompaniment part.
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Antonio Vivaldi: Concerto For Violin In G Op.3/3: Violin: Instrumental Work
Violin and Piano
Barenreiter
Vivaldi achieved popularity throughout Europe with his collection “L&rsquo...
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Vivaldi achieved popularity throughout Europe with his collection “L’estro armonico” Op.3. He wrote the cycle which consists of twelve violin concertos (including Concerto Op.3 No.3 featured here) for the orchestra of the “Ospedale della Pietà” where he was teacher and director for many years.The two fast outer movements from opus 3/3 feature ritornelli combined with more virtuosic solo sections as was prevalent at the time. This ritornello form gives structure to the movements. It also gives the student who plays both the solo and tutti sections in this edition the opportunity to vary the returning motives interms of dynamics and ornamentation. In the short but expressive Largo distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practise various bowing techniques.
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First Repertoire for Violin: Violin: Instrumental Album
Violin and Piano
[Sheet music]
-
Intermediate
Faber Music Limited
Mary Cohen's First Repertoire For Violin is a collection of fifteen imaginative ...
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Mary Cohen's First Repertoire For Violin is a collection of fifteen imaginative and idiomatic arrangements and original pieces all carefully selected and written for the Grade 2-4 player. From Handel to Elgar The Pink Panther to Puttin' On The Ritz with polkas barn dances and tangos - there is something here for every occasion.
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37 Violin Pieces You Like to Play: Violin: Instrumental Album
Violin and Piano
-
Intermediate/advanced
Schirmer
Thirty-seven violin pieces with piano accompaniment mainly from the Classical a...
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Thirty-seven violin pieces with piano accompaniment mainly from the Classical and Romantic eras. There's loads of music here making it a great book for the intermediate/advanced player to work through.
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Johann Pachelbel: Canon D: Violin: Instrumental Work
Violin and Piano
Peters
While Pachelbel has been most admired as a composer of organ works and Lutheran ...
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While Pachelbel has been most admired as a composer of organ works and Lutheran church music his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The first of these is of course the canon a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as for example Frère Jacques) is a type of canon. The second device involves a short bass line (refeered to as a ground bass) that is repeated constandly over which the composer writes continuous variations. In its original form the work consists of an initial statement of an eight note ground bass followed by27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts an appropriate harmonic background would have been improvised on harpsichord lute or organ. In the present arrangement Pachelbel's note values have been doubled for greater ease of reading and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at an intermediate level. Since dynamics bowing indications articulations and slurs were not customarily provided by composer of the Baroque era the arranger and the editor have added them here as well as a metronome indication and a few cadential trills. Obviously these editorial additions should be regarded only as suggestions.
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Trockne Blumen Op.160 (SCHUBERT FRANZ)
Violin and Piano
[Score and Parts]
Universal Edition
Introduktion und Variationen D802. Par SCHUBERT FRANZ. Originally for flute and ...
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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
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Ludwig van Beethoven: Violin Concerto In D Op. 61 - Kremer Edition: Violin:
Violin and Piano
G. Henle
2 volumes in a slipcase with marked and unmarked string part with orchestra part...
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2 volumes in a slipcase with marked and unmarked string part with orchestra parts-On the occasion of the 70th birthday of Gidon Kremer violinist extraordinaire G. Henle Publishers is issuing a special edition of Beethoven?s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326) and the ?Kremer part?. The latter includes fingerings and bowings by Gidon Kremer. The musical text isfollowed by an essay by Kremer about recordings of the Beethoven Concerto bearing the attractive title: ?Searching for Ludwig?. And this is not all: the first-movement cadenza by the composer Victor Kissine which Kremer hasalready played numerous times is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza including thescore and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations Maestro Kremer!
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Sonata in D minor for Violin and Piano op. 108: Violin: Instrumental Work
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The wo...
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Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take 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. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to 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. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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Johannes Brahms: Sonata in A major for Violin and Piano op. 100: Violin:
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The wo...
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Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take 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. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to 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. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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Johannes Brahms: Sonatas In F Minor And E-Flat For Violin: Violin: Instrumental
Violin and Piano
Barenreiter
for Violin and Piano-Brahms had already announced his ?retirement? from composit...
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for Violin and Piano-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 havedeveloped 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
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wi...
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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.
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Frank Bridge: Three Pieces: Violin: Instrumental Album
Violin and Piano
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Intermediate
Faber Music Limited
These three pieces were written seperately between 1901 and 1910 for cello and p...
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These three pieces were written seperately between 1901 and 1910 for cello and piano but are arranged here for Violin and Piano. Three of Frank Bridge's more popular and familiar works from his early days of composition are included here and although masterful and beautiful are rather conservative in the use of traditional techniques.
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Souvenir D'Un Lieu Cher (Violin And Piano) (TCHAIKOVSKI PIOTR ILITCH)
Violin and Piano
[Sheet music]
Faber Music Limited
Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place)...
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Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place) is a collection of three pieces for violin and piano. The first - Méditation - was written in Clarens in Switzerland in March 1878. Tchaikovsky originally intended it to be the slow movement of his violin concerto, but later replaced it with the more substantial Canzonetta and recast it for violin and piano. The other two movements were composed in May of the same year on the estate of his benefactress, Nadeja von Meck at Brailovo in Ukraine which is the 'dear place' of the title. It was published in in May 1879. The work is very characteristic of Tchaikovsky's style. It is built on beautiful melodies, with a Russian folk inflection, and contains a variety of contrasting sections. The outer movements are written in a gentle lyrical style, whereas the scherzo is fast and furious creating a mood of stormy anger. The trio section is based on a simple melody with a tinge of sadness about it. The solo part exemplifies Tchaikovsky's mastery of violin writing, using as it does a wide range of timbres and effects. / Répertoire / Violon et Piano
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