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.

After Hours comprises eight laid back jazzy pieces for Violin and Piano covering a variety of styles from cosy dinner jazz to wistful blues and more upbeat numbers composed by Pam Wedgwood. The perfect way to wind down after a stressful day!The accompanying CD contains two tracks for each piece in this book: the first track is a full performance of the piece allowing you to hear how it should sound and be played; and the second is a recording of the backing only giving you the opportunity to play-along yourself without the need for an accompanist!The solo violin part is also included on a separate insert.

Arranged for Violin and Piano-The Belgian Charles Auguste de Bériot (1802-1870) was not only a violinist but also a teacher and composer.Bériot composed a number of concertos. His Concerto No.9 In A Minor published in 1859 is a favourite with more advanced students. Julia Fischer played it with verve at the early age of eight. The piece stands out with seemingly virtuosic short passages varied rhythms and a slight Hungarian touch.The EditorKurt Sassmannshaus is a world-famous Violin teacher with a professorship in Cincinnati (Ohio USA). He is also the founder of the Great Wall Music Academy an international summer camp for youngstring players in China. He continues the family tradition of Early Start on the Violin founded by his father Egon Sassmannshaus and published by Bärenreiter with editions in German and English.The series Bärenreiter's Concert Pieces includes works for solo strings usually the Violin but also Viola and Cello all with Piano accompaniment.

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

Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano

(Memorial for the Columbia Astronauts). Par EOTVOS PETER. Eötvös wrote this piece in memory of the seven astronauts who lost their lives in the Space Shuttle Columbia tragedy in 2003. The number 7 determines the musical, rhythmic and formal structure of the work: 49 musicians are divided into seven groups, and as well as the solo violin there are six further violins arranged correspondingly around the hall; and the solo violin itself portrays each of the astronauts and their different origin, from America via Israel to India, in folkloristically tinged cadenzas. 'The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfilment of a fundamental dream of mankind.' (Peter Eötvös)/ Répertoire / Violon et Piano

Violin and Piano reduction of Three Dances Op. 7 for Violin and Orchestra. The Three Dances are delightful miniatures written in 1915 in relatively carefree student days (relatively because the Great War was already a year old and Howells through ill health which nearly killed him in 1917 was exempted from active service). They were composed for a young fellow-student George Whittaker a highly gifted violinist who had entered the College aged only eleven. Certainly the music has no hint of the momentous events beginning to take shape and which would fundamentally affect one of his closest friends Ivor Gurney and kill a number of others.

Piano Solo/Optional Violin Part-The Piano Guys\' sixth studio album Uncharted reached number 1 in the US classical charts following its release in 2016. The album contains Themes from Pirates Of The Caribbean Can\'t Stop The Feeling from the DreamWorks Animation film Trolls and an inspired blend of Adele\'s Hello and Mozart\'s Lacrimosa amongst eight other beautiful melodies. This matching folio contains all 11 songs from the album in arrangements for solo Piano with optional Violin.

Instrumentation : violin and piano Date of Publications : 30/05/1985 Number of Pages : 8 Arranger : Kreisler, Fritz Series : Kreisler masterpieces for violin Nr. 5

Edition : piano reduction with solo part Instrumentation : violin and orchestra Date of Composition: 1907-8 Duration : 21' Number of Pages : 32