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Violin and Piano
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Catalogue des Oeuvres (14)
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Hautbois Et Cordes (13)
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CD (13)
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Choeur Mixte, Soprano et Corde… (10)
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6 Voix Choeur Mixte (8)
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2 Clarinettes, 2 Bassons et 2 … (8)
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Symphonic Band (8)
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Petit Ensemble Contemporain (7)
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Viol et Basse Continue (4)
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Mandoline, Cordes et Basse Con… (4)
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Fanfare Band (4)
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Organ and Orchestra (4)
Baryton, Choeur Mixte Et Orche… (4)
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Danses Folkloriques Etrangère… (4)
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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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Violin and Piano
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Große Erfolge Instrument : violin and piano Nombre de Pages : 80 Content : I...
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William H. Potstock (1872-1941) was best known as the German American musician a...
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William H. Potstock (1872-1941) was best known as the German American musician and composer of Souvenir de Saraste. This piece combines various techniques such as left hand pizzicato and double stops which makes it a popular musical piece for violinists.
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Sonate Violon-Piano (SERVOZ H)
Violin and Piano
[Score]
Salabert
Par SERVOZ H.. / Répertoire / Violon et Piano
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Solo De Concours 'Alla Pastorale' En Ré Maj. (LACOURT-WOLFF H)
Français
Violin and Piano
[Sheet music]
-
Easy
Combre
Par LACOURT-WOLFF H.. / Niveau : Assez Facile / classique / Répertoire / Vi...
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Par LACOURT-WOLFF H.. / Niveau : Assez Facile / classique / Répertoire / Violon et Piano
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Rondo A-Dur D 438 (SCHUBERT FRANZ)
Violin and Piano
[Sheet music]
Breitkopf & Härtel
Par SCHUBERT FRANZ. Editeur(s) d'origine: Bernstein, Walter H./ Répertoire / Vi...
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Par SCHUBERT FRANZ. Editeur(s) d'origine: Bernstein, Walter H./ Répertoire / Violon et Piano
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Johannes Brahms: Concert D Op.77: Violin: Instrumental Work
Violin and Piano
[Reduction]
Barenreiter
Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has rem...
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Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale
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Maurice Ravel: Violin Sonata In G Major: Violin: Score
Violin and Piano
G. Henle
Violin Sonata in G major-Inspired by Béla Bartók’s Violin sonatas Ravel...
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Violin Sonata in G major-Inspired by Béla Bartók’s Violin sonatas Ravel planned his own sonata for Violin and Piano in 1922 but at first did not get beyond sketches. Many interruptions ensued and the work was onlyfinished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata’s sparse thinned out compositional structure and instrumentation Ravel later emphasized thatthe sonata proved the tonal incompatibility of the Violin and Piano. Yet it still succeeded in winning a permanent place in Violin repertoire – not least because of its middle movement inspired by jazz elements and the“blues”. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé.
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A. Berg: Violinkonzert: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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Advanced
G. Henle
With marked and unmarked string parts.The genesis of Berg's Violin Concerto in 1...
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With marked and unmarked string parts.The genesis of Berg's Violin Concerto in 1935 is shrouded in tragedy. He had only just finished making the first sketches when Manon Gropius - the daughter of Walter Gropius and AlmaMahler with whom Berg was friends - died of polio.He dedicated the concerto 'To the memory of an angel' in her memory. Then Alban Berg died in 1935 so he no didn't live to see it printed or performed. Henle's edition -Violin part and Piano reduction - follows the score edited by Michael Kube which is being published simultaneously by Breitkopf & Härtel together with the orchestral parts and pocket score.The illustrious violinist FrankPeter Zimmermann has provided fingerings and bowings for the violin part.
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Great Classical Music for Violin and Piano
Violin and Piano
[Sheet music]
Hal Leonard
25 Favorite Classical Pieces in Intermediate Level Arrangements. Par . This coll...
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25 Favorite Classical Pieces in Intermediate Level Arrangements. Par . This collection features some of the most beloved melodies from classical music in arrangements for violin and piano designed to be playable by intermediate-level violinists. From Händel to Rossini these pieces should provide hours of fun music-making. A separate pull-out part for the violin part is included. / Date parution : 2023-06-01/ Recueil / Violon et Piano
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Johannes Brahms: Sonatas for Piano and Violin: Violin: Instrumental Album
Violin and Piano
[Sheet music]
G. Henle
Sonatas for Piano and Violin-Johannes Brahms s?int?ressa tr?s t?t au genre de la...
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Sonatas for Piano and Violin-Johannes Brahms s?int?ressa tr?s t?t au genre de la sonate pour violon. ? l?automne 1853 il proposa ? un ?diteur de Leipzig une sonate pour violon en la mineur. L??uvre ayant ?t? refu-s?e il semble que le compositeur tr?s critique envers lui-m?me l?ait ensuite d?truite de ses propres mains. Ses trois grandes sonates datent de sa maturit? l?op. 78 des ?t?s 1878 et 79 les opus 100 et 108 de l??t? 1886. Le scherzo en ut mineur constitue la contribution de Brahms ? la sonate pour violon ?crite conjointement avec Robert Schumann et Albert Dietrich en 1853 en guise de cadeau surprise pour le violoniste Joseph Joachim. Elle est connue sous le nom de sonate F-A-E(fa-la-mi). Avec ses contrastes marqu?s entre l?Allegro v?h?ment et le Pi? moderato d?une grande sensibilit? ce mouvement de scherzo constitue un morceau de bravoure tr?s appr?ci?.
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10 Sonate per violino e basso: Violin
Violin and Piano
Ricordi
a cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes ...
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a cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to offer performers works that satisfy clear critical and musicological criteria. This anthology includes ten sonatas carefully selected from among those written by ten of the most important eighteenthcentury Italian composers of violin music. Tomaso Albinoni: Sonata op. VI n. 7 - Arcangelo Corelli: Follia op. V [n. 12] - Francesco Geminiani Sonata op. IV n. 11 H. 95 -Pietro Antonio Locatelli: Sonata op. VI n. 5 - Pietro Nardini: Sonata op. V n. 3 - Gaetano Pugnani: Sonata op. VII n. 1 - Giuseppe Tartini:Sonata op. I n. 10 B. g 10 [?Didone abbandonata?] - Francesco Maria Veracini: Sonata op. II n. 8 - Giovanni Battista Viotti: Sonata op. IV n. 4 W. V/4 - Antonio Vivaldi: Sonata RV 10
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Howard Ferguson: Sonata No. 2: Violin
Violin and Piano
Boosey and Hawkes
Violin Piano. Ferguson H
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Suite in G op. 56: Violin
Violin and Piano
Simrock
Violin Piano. Gal H
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Divertimento in A op. 90-2: Violin & Cello
Violin and Piano
Simrock
Violin Cello. Gal H
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Sergei Prokofiev: Violinkonzert Nr. 1 Op. 19: Violin
Violin and Piano
Boosey and Hawkes
CONCERTO NO. 1 IN D MAJOR OP. 19Violin and PianoPublisher: Boosey & HawkesEdito...
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CONCERTO NO. 1 IN D MAJOR OP. 19Violin and PianoPublisher: Boosey & HawkesEditor: F.H. SchneiderComposer: Sergei Prokofieff37 pages
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Saint-saens C. - Havanaise In E Major Op.83 - Violon and Piano
Violin and Piano
Breitkopf & Härtel
Camille Saint-Saëns Havanaise op. 83 Editeur: Christiane Strucken-Paland Doigt...
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Camille Saint-Saëns Havanaise op. 83 Editeur: Christiane Strucken-Paland Doigtés: Klaus Schilde Doigtés vl.: Ingolf Turban Edition Urtext, reliure paperback partie de corde avec ou sans indications de doigté Matériel d'orchestre chez Breitkopf
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Havanaise Op. 83
Violin and Piano
Schott
En novembre 1885, Camille Saint-Saëns se lance dans une tournée de concerts av...
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En novembre 1885, Camille Saint-Saëns se lance dans une tournée de concerts avec le violoniste cubain Diaz Albertini, qui le conduit au nord de la France sur son chemin vers l'Allemagne. Lors d'une soirée froide et humide, le crépitement d'un feu dans un hôtel Morne est censé h / Violon Et Piano
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Selected Studies Vol.3 + Cd - Violon, Piano
Violin and Piano
[Sheet music + CD]
De Haske Publications
La collection Selected Studies rassemble des études composées par de grands pÃ...
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La collection Selected Studies rassemble des études composées par de grands pédagogues des deux siècles passés tels que F. Wohlfahrt, H. Sitt et H. Kayser. Vous y trouverez des exercices faciles autour de la technique d?archet et du jeu en doubles cordes. Chaque recueil dispose de deux CDs d?accompagnement. Chaque étude est enregistrée dans trois versions : une version intégrale, et deux versions d?accompagnement (au tempo normal d?abord, au tempo d?étude ensuite).Selected Studies 3: Études d'Henri Vieuxtemps, Federico Fiorillo, Pierre Rode, Rodolphe Kreutzer, Jacob Dont, Pierre Gaviniès, Jacques Féréol Mazas et Niccolò Paganini, etc. Main droite : accords, ricochet, détaché, démanchés, staccato, legato, spiccato, sauts d?octaves, cantilena. Main gauche : positions élargies, extensions, doubles cordes, sauts d?octaves, accords, positions sur la corde de Sol, pizzicato, notes harmoniques, trilles, vélocité, chromatismes, ornements.
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Ekho (PROUST PASCAL)
Violin and Piano
[Score and Parts]
-
Beginner
FLEX Editions
Par PROUST PASCAL. Après avoir diverti Héra, la femme de Zeus, Ekho, nymphe de...
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Par PROUST PASCAL. Après avoir diverti Héra, la femme de Zeus, Ekho, nymphe des forêts, va essayer de faire de même avec les jeunes violinistes... - Pascal PROUST - Une Pièce originale adaptée pour une audition ou un examen de 1er Cycle A - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Violon 1 Piano - Niveau de Difficulté : 1/6 - Débutant - Durée : 1 mn 45 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Débutant / Classique, Pédagogique / Répertoire / Violon et Piano
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Nikolai Medtner: Zwei Canzonen mit Tänzen op. 43: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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Intermediate
Zimmermann
Nr. 1 C-Dur - Nr. 2 h-Moll
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Preuves D'Amour Et D'Ailleurs
Français
Violin and Piano
Delatour France
Et moi, je me glisse sous une porte cochère. À l'abri des regards, je pleure a...
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Et moi, je me glisse sous une porte cochère. À l'abri des regards, je pleure aussi désespérément que dans le train de Téhéran. Quand je me croyais guéri d'elle. La grande fontaine des regrets éternels. Impossible à endiguer? Hélas, je n'ai pas sur moi le mouchoir brodé de la petite Shadie qui parlait si bien le français. Je n'ai plus sa magie à portée de main. Alors je me déverse. Et mon chagrin inonde la rue, la place, le quartier. Le déluge lacrymal gagne la Lombardie et de proche en proche l'Italie toute entière jusqu'à ce que la mer Tyrrhénienne rejoigne l'Adriatique. / Livre
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Album Vol.II / Händel, Telemann, Martini, Mozart, Weber, A.O. - Vl/Piano
Violin and Piano
[Sheet music + CD]
-
Easy
Dowani
/ Violon Et Piano / 7 pages / niveau : Facile / Partition + Cd
17.80 EUR - Sold by LMI-partitions
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