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Violin and Piano
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Johann Pachelbel: Canon D: Violin: Instrumental Work
Violin and Piano
Peters
While Pachelbel has been most admired as a composer of organ works and Lutheran ...
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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.
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Kiss (Violon Et Piano)
Français
Violin and Piano
[Sheet music]
Fertile Plaine Editions
La référence FP 188 de l'éditeur Fertile Plaine dont l'auteur célèbre est V...
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La référence FP 188 de l'éditeur Fertile Plaine dont l'auteur célèbre est Villard P.M./Lanone F., qui a pour titre Kiss ( violon et piano ), a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition
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Appassionato
Français
Violin and Piano
[Sheet music]
Billaudot
La référence CC2323 de l'éditeur Billaudot dont l'auteur célèbre est Bourno...
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La référence CC2323 de l'éditeur Billaudot dont l'auteur célèbre est Bournonville Armand, qui a pour titre APPASSIONATO, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition
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Concerto Giocoso
Français
Violin and Piano
[Sheet music]
Billaudot
La référence CC3128 de l'éditeur Billaudot dont l'auteur célèbre est Martin...
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La référence CC3128 de l'éditeur Billaudot dont l'auteur célèbre est Martinon Jean, qui a pour titre CONCERTO GIOCOSO, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition
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2ème Sonatine Op. 19 No12
Français
Violin and Piano
[Sheet music]
Billaudot
Référence unique par son ISBN 9790043002949 cette partition musique de Martino...
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Référence unique par son ISBN 9790043002949 cette partition musique de Martinon Jean n'est autre que 2E SONATINE OPUS 19 Nø12 qui a été composée pour Violon Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Billaudot. La référence catalogue de cette oeuvre est CC2864. / Violon Et Piano / Partition
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Suite Nocturne
Français
Violin and Piano
[Sheet music]
Billaudot
La référence CC3129 de l'éditeur Billaudot dont l'auteur célèbre est Martin...
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La référence CC3129 de l'éditeur Billaudot dont l'auteur célèbre est Martinon Jean, qui a pour titre SUITE NOCTURNE, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition
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Histoire Lointaine
Français
Violin and Piano
[Sheet music]
Billaudot
Cette partition HISTOIRE LOINTAINE de Martinon Jean a été éditée par les éd...
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Cette partition HISTOIRE LOINTAINE de Martinon Jean a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB6627. Cette oeuvre d'une durée de 00:01:42 est idéale pour les musiciens pratiquant Violon. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Violon Et Piano / Partition
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Poldowski: Tango for Violin and Piano: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Chester
Tango is a dance style piece for Violin and Piano written by Poldowski. They w...
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Tango is a dance style piece for Violin and Piano written by Poldowski. They were composed for the Violin virtuoso Pawel Kochanski (1887-1934). Poldowski was pen name of theBelgian-British composer and pianist Regine Wieniawski later Lady Dean Paul (1879-1932). She studied Piano at Brussels London and Paris and started performed her own compositions at the age of 14. Sheinitially adopted the pseudonym in order to pose as a male but later cast of the anonymity even performing under the false name. She is best remembered for her chamber compositions and the many songs she wrote both in Englishand in French.
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Johannes Brahms: Sonatas In F Minor And E-Flat For Violin: Violin: Instrumental
Violin and Piano
Barenreiter
for Violin and Piano-Brahms had already announced his ?retirement? from composit...
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for Violin and Piano-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 havedeveloped 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
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Claude Debussy: Oeuvres Pour Violon et Piano: Violin: Instrumental Album
Violin and Piano
Barenreiter
Claude Debussy had difficulties finishing his last major work the Sonata for Vi...
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Claude Debussy had difficulties finishing his last major work the Sonata for Violin and Piano. This can be seen in the many drafts which have been handed down and the fact that the cycle for which it was conceived was left unfinished. The work originated under the impact of Debussy’s progressing illness as well as the First World War.The first edition published during the final year of Debussy’s life contains many rhythmic errors. The non-autograph metronome marks as well as the discrepancies between the separate violin part and the violin part in small print in the piano score are two problems that have affected the work’s later reception.Both are examined here in a fresh light.In addition to the Sonata this edition contains arrangements of La fille aux cheveux de lin and Il pleure dans mon coeur by the American violinist Arthur Hartmann. It was Hartmann who inspired Debussy to make an arrangement of his well-known piano piece Minstrels also included in our edition.- Debussy’s complete works for violin and piano- With arrangements by Debussy’s acquaintance Hartmann- Informative Foreword (Eng/Fr/Ger)- Critical Commentary (Eng)
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Sonata in D minor for Violin and Piano op. 108: Violin: Instrumental Work
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The wo...
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Brahms composed his ?Violin Sonata In D Minor? 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.
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Johannes Brahms: Sonata in A major for Violin and Piano op. 100: Violin:
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The wo...
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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.
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Works For Piano And Violin (MOZART WOLFGANG AMADEUS)
Violin and Piano
G. Henle
Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est ado...
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Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano
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Mary Cohen: Adventures of Egbert: Violin: Instrumental Tutor
Violin and Piano
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Easy
Faber Music Limited
The Adventures of Egbert is an exciting new concept in Violin teaching - a story...
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The Adventures of Egbert is an exciting new concept in Violin teaching - a story which has all the right ingredients to appeal to primary and early secondary school age pupils incorporating valuable technical exercises and well-known tunes for the beginner violinist. Egbert can be used in a one-to-one teaching context or else with a Violin group of varying ability while for non-specialist teachers there are plenty of opportunities to involve the whole class (not just the violinists) in a mini dramatic production.
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Labrousse-baert S. - Le Violon Classique - Niveau 1 - Violon Et Piano
Français
Violin and Piano
Flex Editions
A collection of 11 classical masterpieces arranged for Violin and Piano: 1 - BAC...
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A collection of 11 classical masterpieces arranged for Violin and Piano: 1 - BACH - Gavotte from Suite No. 3 in D Major, 2 - TCHAIKOVSKI - Chanson Triste, 3 - BACH - Aria from Suite No. 3 in D Major, 4 - SCHUBERT - Ave Maria, 5 - VIVALDI - Winter - Extract from the Four Seasons, 6 - MENDELSSOHN - Wedding March, 7 - WAGNER - Wedding March from Lohengrin, 8 - MOZART - Romanza - A Little Night Music, 9 - MOZART - Allegro - A Little Night Music, 10 - GOUNOD - Ave Maria (with opt. Violin 2), 11 - PACHELBEL - Canon in D Major (2 violins & piano) Instruments: Violon, Piano Difficuly Level: Medium Duration: >15 Musical Style: Classical, Educational Category: Arrangement Composer: LABROUSSE-BAERT Sarah Arranger: LABROUSSE-BAERT Sarah
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A. Berg: Violinkonzert: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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G. Henle
With marked and unmarked string parts.The genesis of Berg's Violin Concerto in 1...
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With marked and unmarked string parts.The genesis of Berg's Violin Concerto in 1935 is shrouded in tragedy. He had only just finished making the first sketches when Manon Gropius - the daughter of Walter Gropius and AlmaMahler with whom Berg was friends - died of polio.He dedicated the concerto 'To the memory of an angel' in her memory. Then Alban Berg died in 1935 so he no didn't live to see it printed or performed. Henle's edition -Violin part and Piano reduction - follows the score edited by Michael Kube which is being published simultaneously by Breitkopf & Härtel together with the orchestral parts and pocket score.The illustrious violinist FrankPeter Zimmermann has provided fingerings and bowings for the violin part.
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Ludwig van Beethoven: Violin Concerto In D Op.61 - Piano Reduction: Piano:
Violin and Piano
[Reduction]
Barenreiter
Beethoven's famous concerto for Violin and Orchestra has appeared in many editio...
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Beethoven's famous concerto for Violin and Orchestra has appeared in many editions over the last 150 years but none has truly done justice to the work. Now the acclaimed Beethoven scholar Jonathan Del Mar has achieved just that.Working with all known sources Del Mar finally presents us with Beethoven's intended solo Violin articulation dynamics and slurring; there are even note corrections in the solo part. Additions made by various editors and violin players over the years have been deleted. For the first time we also now have clarity regarding the meaning of Beethoven's Solo and Tutti markings.All in all a groundbreaking scholarly-critical edition;a must have for every violin player orchestra and music library.
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Step It Up! (with CD) (CHAMBERLAIN LOUISE)
Violin and Piano
[Sheet music + CD]
Alfred Publishing
Par CHAMBERLAIN LOUISE. Step It Up! is the fun way to move your playing onwards ...
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Par CHAMBERLAIN LOUISE. Step It Up! is the fun way to move your playing onwards and upwards. Packed full of original jazzy pieces by Louise Chamberlain - with imaginative arrangements of well-known tunes, unaccompanied pieces and duets too - this carefully graded volume for violin also includes a CD of groovy backing tracks. So whether practising at home or performing to your friends, take your playing to another level with Step It Up! - and prepare to step up a grade at the same time! Pamela Wedgwood writes as Louise Chamberlain for the Step It Up! series. She is recognised around the world as one of the UK's most prolific and successful composers of popular repertoire for young instrumentalists. **ABRSM selected piece (Violin 2008-2011): Be thou my vision (Anon.) / Instrumental Music / Etude / Violon et Piano
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Roland F. Seitz: Concerto for Violin and Piano Op. 13 No 2 in G: Violin:
Violin and Piano
Dowani
1 Allegro non troppoAdagioAllegretto moderato
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Ludwig van Beethoven: Sonata For Piano And Violin Op. 24 In F Major: Violin:
Violin and Piano
Dowani
1-4 Allegro5-8 Adagio molto espressivo9-12 Scherzo (Allegro molto)13-16 Rondo (A...
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1-4 Allegro5-8 Adagio molto espressivo9-12 Scherzo (Allegro molto)13-16 Rondo (Allegro ma non troppo)
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wi...
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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.
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Indra - Hommage A Lili Boulanger (PEPIN CAMILLE)
Violin and Piano
Jobert
Par PEPIN CAMILLE. Lorsque Claire Bodin [1] m'a proposé d'écrire une pièce en...
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Par PEPIN CAMILLE. Lorsque Claire Bodin [1] m'a proposé d'écrire une pièce en hommage à une compositrice du passé, j'ai choisi de rendre hommage à Lili Boulanger (1893-1918). Compositrice et orchestratrice hors-pair, elle était également une très belle femme, généreuse et courageuse, oeuvrant à l'arrière du front pour les civils et soldats mobilisés durant la Première Guerre Mondiale - et cela malgré la maladie et sans jamais cesser d'écrire. Première compositrice à remporter le Grand Prix de Rome en 1913, elle ouvre une voie jusqu'alors non reconnue aux femmes. Son succès éclaire la présence féminine dans un domaine jusque là 'réservé' exclusivement aux hommes. Rendre hommage à Lili Boulanger, c'est non seulement rendre hommage à l'incroyable femme et musicienne qu'elle était, mais aussi à cette voie qu'elle a ouverte aux compositrices des générations futures. J'ai choisi d'écrire une pièce inspirée de la mythologie hindoue, en hommage à sa Vieille Prière Bouddhique achevée en mars 1917. Indra sera ainsi créée en mars 2017 - soit cent ans après la conception de l'oeuvre de Lili Boulanger ! Indra est le dieu de la guerre et de l'orage. Ses attributs sont l'éclair et l'arc-en-ciel. Doté de pouvoirs magiques, Indra affronte le serpent Vrtra qui retient les eaux célestes, faisant ainsi souffrir le monde d'une grande sécheresse. Indra le combat et délivre les eaux du ciel en transperçant les nuages. Tel est le mythe qui m'a inspiré. J'ai eu envie d'écrire une pièce rythmique, puissante et énergique, pour rendre hommage à la force et au courage de Lili Boulanger en tant que femme artiste. Lui rendre hommage aujourd'hui sans prendre en compte sa condition de femme est un luxe que l'on ne peut pas encore se permettre. Qui plus est, il m'a semblé tout naturel de choisir ce thème plein de vigueur pour cette oeuvre dédiée à la pianiste Célia Oneto Bensaïd et la violoniste Raphaëlle Moreau qui en feront la création. Tout l'enjeu de cette oeuvre était de représenter cette force et cette volonté : comment rendre cette vivacité et cette fougue de l'orage - de ce combat - avec seulement deux instruments ? J'ai ainsi conçu une pièce alternant des épisodes nerveux et pulsés - guerrier - à des épisodes plus légers et dansants - vif, aérien. J'ai recherché des sonorités martiales en pensant véritablement l'oeuvre d'une façon 'orchestrale' avec des appels de cors ou encore des coups de grosse caisse. Un bref épisode aux couleurs flûtées sur un tapis scintillant de harpe - magique et incantatoire - rappelle les pouvoirs magiques d'Indra avant de retrouver la nervosité et la pulse initiales. / Contemporain / Répertoire / Violon et Piano
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