Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire / Violon et Piano

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

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer gave the first performanceon 31 July 1962 at the Royal Albert Hall London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately while at the same time the whole set of fiveconstitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone and its inversion plays an important part in every piece. Thus the first piece which is of a slow and meditativecharacter begins with this theme in the bass. It is also heard in the first entry of the solo part and thereafter every episode is in some way derived from it. The next piece a vigorous and strongly marked ‘allegro’ uses thesemitone of the original figure as its starting point. A second theme appears first on the horns and is later taken up by the solo violin while a third section has the initial idea as its accompaniment. Next comes an extendedscherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the firstsection violas and cellos are divided in the middle section and all the strings are used in the last which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others concernedmainly with giving the soloist material for display but not unconnected with what has gone before.

Ravel, Maurice
Sonata / Berceuse sur le nom de Fauré for Violin and Piano
- New scholarly-critical edition of Ravel?s famous sonata
- First scholarly-critical edition of the ?Berceuse sur le nom de Fauré?
- Foreword on the historical context and performance practice issues (Eng/Ger) as well as a Critical Commentary (Eng)
Ravel worked on his Sonata for Violin and Piano for four years (1923?1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the ?fundamental incompatibility? of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a ?perpetuum mobile? finale.
This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the ?Berceuse sur le nom de Fauré? which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Fauré?s name. / Partitions classique / Cordes / Violon / BARENREITER

La Melancolie is a famous melody first written by Ole Bull in 1850. It is often known under the name I Ensomme Stunde (?In Moments of Solitude?). It has been arranged here for solo Violin with Piano accompaniment. Ole Bull (1810-1880) was a Norwegian composer Violin virtuoso and nationalist. He started playing early in life performing as a soloist with the Bergen Philharmonic orchestra before the age of ten. He later studied in Paris where he met Chopin Rossini and Paganini before launching a highly successful career as a touring virtuoso performing all across the UK North America and mainland Europe. Few of hiscompositions have survived but perhaps best known is his Saeterjentens Sondag.

16 contemporary pieces for violin-Spectrum For Violin is an exciting introduction to the music of today for all violinists. The 16 pieces included have been specially commissioned from some of today's leading composers and reflect current compositional trends. With at least one piece at each of Grades 1 to 8 there's something here for players of all ages and abilities.Included is a a recording of the 16 pieces performed by violinist Alexandra Wood - compiler of this volume - and pianist Thalia Myers. The CD also contains recorded accompaniments for the two works composed for Violin and soundtrack.With pull-out Piano accompaniment part.

Mary Cohen's First Repertoire For Violin is a collection of fifteen imaginative and idiomatic arrangements and original pieces all carefully selected and written for the Grade 2-4 player. From Handel to Elgar The Pink Panther to Puttin' On The Ritz with polkas barn dances and tangos - there is something here for every occasion.

While Pachelbel has been most admired as a composer of organ works and Lutheran church music his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The first of these is of course the canon a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as for example Frère Jacques) is a type of canon. The second device involves a short bass line (refeered to as a ground bass) that is repeated constandly over which the composer writes continuous variations. In its original form the work consists of an initial statement of an eight note ground bass followed by27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts an appropriate harmonic background would have been improvised on harpsichord lute or organ. In the present arrangement Pachelbel's note values have been doubled for greater ease of reading and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at an intermediate level. Since dynamics bowing indications articulations and slurs were not customarily provided by composer of the Baroque era the arranger and the editor have added them here as well as a metronome indication and a few cadential trills. Obviously these editorial additions should be regarded only as suggestions.

2 volumes in a slipcase with marked and unmarked string part with orchestra parts-On the occasion of the 70th birthday of Gidon Kremer violinist extraordinaire G. Henle Publishers is issuing a special edition of Beethoven?s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326) and the ?Kremer part?. The latter includes fingerings and bowings by Gidon Kremer. The musical text isfollowed by an essay by Kremer about recordings of the Beethoven Concerto bearing the attractive title: ?Searching for Ludwig?. And this is not all: the first-movement cadenza by the composer Victor Kissine which Kremer hasalready played numerous times is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza including thescore and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations Maestro Kremer!

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.

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.

Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place) is a collection of three pieces for violin and piano. The first - Méditation - was written in Clarens in Switzerland in March 1878. Tchaikovsky originally intended it to be the slow movement of his violin concerto, but later replaced it with the more substantial Canzonetta and recast it for violin and piano. The other two movements were composed in May of the same year on the estate of his benefactress, Nadeja von Meck at Brailovo in Ukraine which is the 'dear place' of the title. It was published in in May 1879. The work is very characteristic of Tchaikovsky's style. It is built on beautiful melodies, with a Russian folk inflection, and contains a variety of contrasting sections. The outer movements are written in a gentle lyrical style, whereas the scherzo is fast and furious creating a mood of stormy anger. The trio section is based on a simple melody with a tinge of sadness about it. The solo part exemplifies Tchaikovsky's mastery of violin writing, using as it does a wide range of timbres and effects. / Répertoire / Violon et Piano