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

Par BEETHOVEN LUDWIG VAN. This edition of Beethoven's Sonata in F Op. 24 'Spring' for Violin and Piano accompaniment, edited by Fritz Kreisler./ Répertoire / Violon et Piano

In May of 1802, the ?Allgemeine musikalische Zeitung? praised the violin sonatas op. 23 and 24 as being ?... among the best Beethoven has written, which is to say that they are among the best being written at all. The composer?s original, fiery and bold spirit ... becomes more and more apparent now ...? The time during which Beethoven composed his ?Spring Sonata?, which was to become increasingly popular during the course of the 19th century, was marked by a frantic surge of compositional creativity. ?I live only in my notes, and with one work barely finished, the other is already started; the way I write now I often find myself working on three, four things at the same time.?, he wrote in a letter to Wegeler on 29 June 1801. However during this time, Beethoven also suffered from the rapid deterioration of his hearing, a fact he was still trying to hide and that the enchanting ?Spring Sonata? certainly does not divulge.

1st, 3rd and 5th Position. Par RIEDING OSKAR. Un Concertino énergique et variée pour violon, cette pièce est pleine de caractère et est garantie pour impressionner ! À l'aide de la 1ère, 3e et 5e positions du violon, Concertino du Rieding en G Op.24 est techniquement difficile, cependant fournira un merveilleux ajout à votre répertoire. La partie de violon solo de figure également sur un encart séparé. / Niveau : Elémentaire / Rép Classique / Répertoire / Violon et Piano

Cette partition 7 SOLOS DE CONCERTOS - 7E SOLO, EN RE MAJEUR OPUS 224 No 7 de Dancla Charles a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7251. Cette oeuvre d'une durée de 00:07:45 est idéale pour les musiciens pratiquant Violon. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Violon Et Piano / Partition

La référence AL18322 de l'éditeur Leduc dont l'auteur célèbre est Viotti/Catherine, qui a pour titre Premiers Solos Concertos Classiques:N024 Violon Et Piano, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition

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