These variations are among the most little-known works by Carl Maria von Weber. They are especially charming due to the harmonic ambiguity, primarily found in the piano accompaniment, that Weber weaves around the theme. / Violon Et Piano

Trinity Performance Editions showcase new works by contemporary composers. Each edition is dedicated to one composer and instrument. Many pieces from the series are featured on Trinity???s exam syllabuses whilst others are simply enjoyable to learn and play and provide great transition pieces between grades. All are excellent recital pieces and performance notes written by the composer are available online along with further digital resources.

Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons Et Guitare

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.

8 Easy Pieces for Violin and Piano. This edition presents you with an array of musical highlights from two centuries of music history. It offers easy-to-play yet musically challenging arrangements for violin and piano, and enables you to learn the pieces systematically and at three different tempi with professional accompaniments. The recordings begin with the concert version of each piece, following which you will hear the piano accompaniment at slow and medium tempo to help you practise. Having mastered these slower versions, you?ll now be ready to play with piano accompaniment at the original tempo. All of the versions were recorded live.

Par BOSSIO EZIO. This is the first edition of Ezio Bosso?s works for violin and piano. It includes the acclaimed Clouds, The Mind On The (Re)Wind taken from the album Music For Weather Elements. This volume is part of a collaborative editorial project between Buxus Editions and Hal Leonard Europe, dedicated to publishing all of Maestro Bosso?s compositions for instrumental chamber ensemble. / Date parution : 2022-09-15/ Recueil / Violon et Piano

In this timeless new collection Hywel Davies presents eleven fresh arrangements of traditional British folk tunes as well as seven complementary folk-inspired compositions of his own. Arranged in order of difficulty the pieces in this album are suitable for beginner to intermediate violinists. The CD contains complete recordings of the pieces as well as complete accompanying parts which have also been recorded in a slower version for rehearsal purposes.

Instrumental Solos-Since its opening in 1957 the musical West Side Story has been a hit on Broadway. Made into a successful film starring Rita Moreno Natalie Wood and Richard Beymer in 1961 this tale of star-crossed lovers caught between feuding New York gangs has been gripping audiences for decades. The arrangements in the West Side Story: Instrumental Solos series remain faithful to Bernstein's original score. In this edition the pieces have been idiomatically adapted for the solo Violin. This book features 10 of the best-known songs from the musical including Maria Tonight America I Feel Pretty and more. West Side Story:Instrumental Solos - Violin comes with an enhanced CD featuring Piano accompaniments for all tracks. Playable on both CD player and computer tempo adjustment software is also included for CD-Rom computer use only.

Violin with piano accompaniment-This book contains the best-known and most beautiful wedding classics. Filled with music from the great composers from different eras from Johann Sebastian Bach to Richard Wagner. With stately as well as cheerfully informal melodies Classics for Weddings offers ample choice. On the CD you will find demo as well as play-along versions of all the pieces - a fine aid for studying! Also includes a piano part which is also suitable for organ (manuals only).

For Violin and Piano.First performed by Sophie Appleton (Violin) and James Weeks (Piano) London 1st November 2006.Revised edition was first performed by Darragh Morgan (Violin) and Mary Dullea (Piano) London 5th February 2009.