This is a progressive collection of Intermediate-level Romantic music for Solo Violin with Piano Accompaniment. This collection features compositions by Faure Schumann Brahms Grieg and many others and also includes a wide variety of music to cover all aspects of Romantic style and technique. Each piece has performance suggestions and handy hints and tips from Sheila M. Nelson.The piano accompaniment part is also included on a separate insert.

Four romantic pieces composed by Antonin Dvorak. Violin part edited by Rok Klopcic. Includes separate violin part.

The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons, first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs - from the Renaissance era via the Baroque, Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music, including motivating pieces from the areas of pop music, jazz, spiritual, bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already - all pieces are in the first position and can be played in the four fingering patterns. To two compositions requiring position playing, an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. / Violon Et Piano

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn?s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ?child prodigy? Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn?s approval. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. Mendelssohn is full of praise for Léonard?s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

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.

Für Violine und Orchester Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the premi?re; the ‘child prodigy’ Joseph Joachim; and Hubert L?onard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to L?onard.The letter informs us that the composer invited L?onard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to L?onard.The recently discovered proofs reveal how L?onard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how L?onard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for L?onard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

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

for Violin and Piano. 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.

Klavierauszug-The Romance for Violin and Orchestra No. 1 in G major was written in 1802 and published in 1803 as opus 40 while the earlier Romance for Violin and Orchestra No. 2 in F major was written in1798 but not published until 1805 as opus 50 leading to some confusion as to the actual chronology. Ludwig van Beethoven (1770 1827) was a German composer and pianist and arguably the most famous composer ofall time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16String Quartets.

for Violin and Piano-For Violin and Piano.Although my Violin sonata is an abstract piece its main dramatic conflict can be described as the struggle between restraint and uncontrolled rage. The piece is based on a single lyrical melody which is reminiscent of the late romantic style - although it is never presented in a traditional manner. The piece begins quietly like a singer trying to sing but caught up in her own tears. At a crucial point in the piece the restrained silence is broken unleashing a savage presto. The piece then returns to the unspoken restraint of the opening. — Avner Dorman

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 modéré' 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.

Pavana – Capricho is one of the last pieces from Isaac Albeniz’s early period before he turned to Spanish influences – a style that would characterise the rest of his compositions. In this earlier period Albeniz who was a child prodigy on the Piano composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau Bach Beethoven Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell a leading figure in the development of nationalist Spanish music.Pavana-Capricho is graceful andlight-hearted at the same time. The playfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for Violin and Piano and with a performance time of ca. 3:30 this piece of Romantic chamber-music is a perfect addition to any concert programme.

Interm. Pieces by Bach Beethoven Corelli Dancla Mozart Sarasate Schubert Schumann Vivaldi-With two CDs of performances and accompaniments. Baroque Classical and Romantic violin solos suitable for the intermediate student violinist. The two enhanced CDs include performances and accompaniments of each piece and can also be used in computers to adjust the tempo. Content - Bach J.S.: Allegro from Sonata in B minor - Beethoven: Andante Scherzoso from Sonata op. 23 - Beethoven: Scherzo from Sonata op. 30 no. 2 - Corelli: Preludio and Allemanda from Sonata in E minor op. 5 no. 8 - Dancla: Air varie on a theme by Donizetti op. 89 no. 4 - Mozart: Adagio and Allegro from Sonata K.379 - Sarasate: Playera from Spanish Dances op.23 - Schubert: Finale from Sonatina op. 137 no. 3 - Schumann R: Phantasiestück op. 73 - Vivaldi: Largo from Winter (The Four Seasons)