By Galina Ustvolskaya. String. Size 8.25x11.75 inches. 32 pages. Published by Sikorski. (50484635) Galina Ustvolskaya (born in 1919 in Petrograd) was one of the few mid-century Russian composers to escape the stylistic shadow of the giants of the era, such as Shostakovich and Prokofiev. She developed her own individual style, shown in this Sonata composed in 1952 but not published until 2001, and just now being released in the U.S.

Violin, Piano - Grade 3

SKU: FL.FX071177

Composed by Alain Lopez. Classical, Educational. Score and Set of Parts. FLEX Editions #FX071177. Published by FLEX Editions (FL.FX071177).

The title of this Piece is a pun on Cubans rhythms. The opposition between the tone and used homonymous tone, as well as the rhythmic formula chosen on theme B are a typical feature of South America music. Concerning the melody, it is a stylistics composition on quarter note triplets!

Fingering: Klaud Schilde; fingering and bowing: Ingolf Turban. Composed by Peter Ilyich Tchaikovsky (1840- 1893). Edited by Alexander Komarov. Henle Music Folios. Classical, Russian. Softcover. G. Henle #HN961. Published by G. Henle

By Jascha Heifetz. By Peter Ilyich Tchaikovsky (1840- 1893). Edited by Endre Granat. LKM Music. Softcover. Lauren Keiser Music Publishing #S511034. Published by Lauren Keiser Music Publishing

Violin & piano

SKU: HH.HH473-FSP

Composed by Anton Eberl. Edited by Martin Harlow. Violin & Piano. Full score and part. Edition HH Music Publishers #HH473-FSP. Published by Edition HH Music Publishers (HH.HH473-FSP).

ISBN 9790708146841.

The model for this sonata is Mozart, specifically his Sonata in B flat major, K.454, written in 1784. Eberl borrows many structural and stylistic features from K.454: the grand, slow introduction of the first movement; the song-like second movement opening over rocking accompaniment; and the gavotte-like closing rondo. Eberl even quotes directly from K.454. But the work also looks forward to Beethoven’s contributions to the genre, and in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, Op.50 shares much of the musical ambition and quality of Beethoven’s early works in this genre.