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

This single-movement work in the key of D has entered the repertoire as an essential Violin piece for the experienced musician.Adoration is a perennial favourite work of composer, Violinist, critic and writer Felix Borowski, with a beautiful melody that builds to ecstatic ending on high D. Borowski was born of Polish parents in England, but, after an invitation from American showman Florenz Ziegfeld, spent most of his life in Chicago where he taught at the Chicago Musical Conservatory and Northwestern University. He created the music collection at the Newberry Library there. He also edited the programmes of the Chicago Symphony Orchestra, as well as composing and teaching privately. / Violon Et Piano

Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano

In May of 1802, the ?Allgemeine musikalische Zeitung? praised the violin sonatas op. 23 and 24 as being ?... among the best Beethoven has written, which is to say that they are among the best being written at all. The composer?s original, fiery and bold spirit ... becomes more and more apparent now ...? The time during which Beethoven composed his ?Spring Sonata?, which was to become increasingly popular during the course of the 19th century, was marked by a frantic surge of compositional creativity. ?I live only in my notes, and with one work barely finished, the other is already started; the way I write now I often find myself working on three, four things at the same time.?, he wrote in a letter to Wegeler on 29 June 1801. However during this time, Beethoven also suffered from the rapid deterioration of his hearing, a fact he was still trying to hide and that the enchanting ?Spring Sonata? certainly does not divulge.

'Deux mini-comme des morceaux de haute intensité, créée en 1963 à New York par Matthew Raimondi (violon) et Robert Helps (piano). Dans leur densité musicale, le dialogue se déroule entre les deux instruments dans de fées légèreté.'' Mamlok Ursula est né en 1923 à Berlin, où elle a commencé sa formation musicale au début. Persécutés en raison de leur origine juive des nazis, Ursula Mamlok quitté avec ses parents à Berlin et a émigré à l'Equateur en 1939. Elle a enseigné la composition à la New York University, Temple University et plus de 40 ans à la Manhattan School of Music à New York. Depuis 2006, Ursula Mamlok est retournée dans sa ville natale de Berlin. '(Marque Bettina) ' / Violon Et Piano / Partition

Par MOZART WOLFGANG AMADEUS. Cette projection édition complète les sonates de Mozart pour clavier et violon a été l'objet de recherches et préparé par Cliff Eisen, un des plus éminents spécialistes Mozart de notre temps. Professeur Eisen reconnaît que les contradictions apparentes et particularités de la notation de Mozart sont parfaitement délibérées, et que les tentatives dans de nombreuses autres éditions d'imposer l'uniformité sur des expressions similaires ou paragraphes musicales peuvent être erronées. Comme il l'écrit dans la préface: ' …la notion que le ' style classique ' représente un modèle de symétrie, équilibre et la clarté est en grande partie une fiction…it du XIXe siècle a peu à voir avec la pratique de Mozart, qui repose principalement sur la variété de contenu et d'articulation '. Donc dans cette nouvelle édition, lectures alternatives dans les passages parallèles sont préservés, plutôt que d'être stérilisés par une quête fallacieuse de conformité. Naturellement, toutes ces instances sont notés dans le commentaire critique. L'accroche hautement individuels au sein de le Mozar... / Urtext / Répertoire / Violon et Piano

Pablo de Sarasate (1844-1908), sans doute, est l'un des virtuoses du violon les plus importantes et les plus prospères de la seconde moitié du 19ème siècle et est devenu immortel à travers ses morceaux de bravoure virtuose et très expressive dans le monde de jouer du violon. Son programme de concerts se composent essentiellement de ses propres compositions, même si pas mal de quelques travaux avaient été consacrés à lui par des compositeurs collègues et fait sur mesure pour lui: par exemple, 'Symphonie espagnole' de Lalo, 'Scottish Fantasia 'de Bruch et des oeuvres pour violon de Saint-Saëns et Wieniawski. En 1899, Sarasate composa une de ses plus populaires, non espagnols pièces, Op 'Introduction et Tarentelle '. 43, qui a été publié l'année suivante, même dans une version avec accompagnement d'orchestre. La tarentelle, une danse folklorique en 6/8 mètres, vient du sud de l'Italie et s'est développée à partir des airs de danse joués dans les Pouilles pour les personnes souffrant de tarentisme. Selon la croyance populaire, la morsure de la tarentule causé tarentisme qui était censé être guérie par la danse sauvage. Allez essayer si la pièce salon Sarasate a vraiment propriétés médicinales! / Violon Et Piano