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MANDOLIN
Violin and Piano
NARROW BY INSTRUMENTATION
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Trio (29)
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English horn, Piano (11)
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6 Trombones 2 Trombone Basses (9)
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Saxophone Soprano ou Ténor et… (9)
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Petite Clarinette Mib 5 Clarin… (8)
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3 Violons, Basse Viol et Basse… (8)
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Cor en Fa (8)
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Baritone voice (7)
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Flügelhorn (6)
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Ballets Sans Chant (6)
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Classical Music For Children
Violin and Piano
Schott
25 easy pieces from the Baroque, Classical and Romantic eras, playable in the fi...
(+)
25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony #9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools. / Violon Et Piano
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Sonata Movement For Violin And Piano C Minor Woo 2
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano A Major Op. 100
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano D Minor Op. 108
Violin and Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
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The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Fun-tasto: Reflection and Exhilaration
Violin and Piano
[Sheet music]
EMB (Edition Musica Budapest)
for violin and piano. Par THOMAS KORNEL. Kornel Thomas (*1986) studied compositi...
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for violin and piano. Par THOMAS KORNEL. Kornel Thomas (*1986) studied composition with László Draskóczy in Budapest, and conducting with Mark Stringer in Vienna. His works were awarded, among others, at the 2023 5th Zodiac International Music Competition, and the 2020 MUPA Composers Competition. As a conductor, he made his debut with the Hungarian State Opera in 2021. 2017-2020 he was assistant conductor of Savaria Symphony Orchestra. By incorporating a diverse range of musical genres, his aim is to connect with a wide spectrum of music enthusiasts. Many of his works delve into the intricate realm of mental health. Reflection and Exhilaration were awarded the second prize at the 2022 Béla Bartók World Competition and was chosen as obligatory piece of the 2023 Béla Bartók World Competition for violin. The two movements represent opposite moods, but they have in common the simplicity and effectiveness of the melodic invention, as well as the rhythmic sophistication, which also refers to the Bulgarian rhythms known from Bartók. / Date parution : 2023-07-31/ Répertoire / Violon et Piano
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Sonatas for Pianoforte and Violin Volume I and Volume II (BEETHOVEN LUDWIG VAN)
Violin and Piano
[Sheet music]
Barenreiter
Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are no...
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Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano
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Borrowings In English Church Music 1550-1950 (BLEZZARD JUDITH)
Violin and Piano
[Book]
Stainer and Bell
Par BLEZZARD JUDITH. Judith Blezzard This book looks at English church music fro...
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Par BLEZZARD JUDITH. Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9 Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9/ Livre / Livre
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Sonatas In F Minor And E-Flat Major For Violin And Piano
Violin and Piano
Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...
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Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of 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, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano
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Best Of Grade 5 Violin, The (Book/Cd)
Violin and Piano
[Sheet music + CD]
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Easy
Faber Music Limited
Jessica O'Leary (Editor). Over the years, many examination pieces have captured ...
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Jessica O'Leary (Editor). Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 5 pieces, including Pleyel's Sonatina in B flat , Fauré's Sicilienne and Wedgwood's Survivor . Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. A CD of performance and accompaniment tracks is included, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London. / Niveau : Assez Facile / Recueil / Violon
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In My Garden 1 (IGUDESMAN ALEKSEY)
Violin and Piano
Universal Edition
Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY...
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Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a modern day Victor Borge. With his cabaret partner, Hyung-ki Joo, he has toured concert halls all over the world, wringing all that is humorous out of classical music with just the basic tools of violin and piano. 'In my Garden 1” shows Igudesman in another light, that of a violin teacher, providing excellent material for younger violin students. Each piece depicts a fruit or vegetable to be found growing in the garden and includes a short poem (in English, French and German) and pictures to inspire the pupil and help them to interpret the music. But these are not just fun to play - they conceal useful study material to improve technique like staccato or lyrical smooth bowing. Clever use of double stops (one note always an open string) will help the student make a more rewarding sound and inspire confidence. Grade 1 students can enjoy some of the pieces and still be dipping into it a year or two later. A piano part is included to make these pieces ideal for an end-of-term concert and, for more ideas, Igudesman has also depicted animals in similar fashion in his two volumes 'In the Zoo”./ Recueil / Violon et Piano
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Sonata Op. 40 (CALLIGARIS SERGIO)
Violin and Piano
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Intermediate
Ricordi
Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in R...
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Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Violon et Piano
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Let's Take The Stage!
Violin and Piano
EMB (Editio Musica Budapest)
It's an unforgettable experience to go on stage for the first time and win appla...
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It's an unforgettable experience to go on stage for the first time and win applause with your playing. This album encourages children to make a first appearance and gives effective help in doing so. It brings together pieces that can earn real success: easy arrangements of favorite works by Dowland, Vivaldi, Handel, Bach, Haydn, Mozart, Weber, Schubert, Schumann, Liszt, Anton Rubinstein and Brahms. The CD enclosed with the publication includes recordings of the piano accompaniment for each piece and a full performance by noted Hungarian musicians. So the disc makes practice at home easier and gives assistance with performance style as well. The publication offers numerous pieces of advice to young violinists, including: how to get ready for a concert, how to control stage fright, and how to be confident on stage. In addition, some charming illustrations by Edit Szalma are included. / Violon Et Piano
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Broadway Songs For Classical Players-Violin/Piano
Violin and Piano
[Sheet music + Audio access]
Hal Leonard
With online audio of piano accompaniments. Intermediate level arrangements for s...
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With online audio of piano accompaniments. Intermediate level arrangements for solo instruments and piano accompaniment, in a range flattering to each instrument. The music has been edited with added dynamics, articulations, and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano and are available online for download or streaming. Includes: All I Ask of You (from The Phantom of the Opera) · Bring Him Home (from Les Misérables) · Memory (from Cats) · Some Enchanted Evening (from South Pacific) · The Sound of Music · Till There Was You (from The Music Man) · Tonight (from West Side Story) · and more. Audio is accessed online using the uniquecode inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. / TV, Film, Comédie musicale / Date parution : 2019-05-27/ Recueil / Violon et Piano
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My Blue Violin
Violin and Piano
Schott
My blue violin draws both musicians and listeners into the world of swing and ja...
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My blue violin draws both musicians and listeners into the world of swing and jazz. Fast cheerful pieces alternate with pensive ones. Titles like My Cat and Me or Die Radtour [The Bicycle Ride] make the poetry of small things resound. Like a musical diary, they make us notice the beautiful things in everyday life. The pieces are of easy to intermediate difficulty and suitable for performances as well as music lessons. / Violon Et Piano
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Happy Birthday Variations (IGUDESMAN ALEKSEY)
Violin and Piano
Universal Edition
Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a mode...
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Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a modern day Victor Borge. With his cabaret partner, Hyung-ki Joo, he has toured concert halls all over the world, wringing all that is humorous out of classical music with just the basic tools of violin and piano. The “Happy Birthday Variations” for violin and piano are dedicated to his good friend, the late Sir Roger Moore and are typical of Igudesman’s brand of humour. They take the internationally known musical greeting on a world-wide tour, from a Viennese Waltz, through a Big Band number, a Bulgarian Vivace in 7/8, a Russian Presto, a Tango and an Alpine Air to conclude in a Paganini-esque finale that’s not quite as difficult as it looks. A great concert showpiece for intermediate students, not least if someone in the audience is celebrating a special day! Or, if the teacher prefers to play the violin, Igudesman’s “The Soloist’s Ultimate Happy Birthday” (UE37199) does a different but equally funny job for violin duet./ Recueil / Violon et Piano
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