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Violin and Piano
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Clavecin (20)
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Flute ensemble (19)
Guitar Tab, Voice, Bass, Drum (18)
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Djembe (17)
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:: (11)
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Soli (T (Evangelist), B (Jesus… (9)
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ENS::Ensemble (9)
Ocarina (9)
Accordion - Piano, Voice, Guit… (9)
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Piano Quintet: piano, violin, … (9)
Chanson (9)
Piccolo, Piano (9)
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Timpani (9)
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Voice, Clarinet, Piano (8)
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Bodhran (7)
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Réduction Piano (7)
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Livret (7)
Soli (ATB), Choeur Mixte (SATB… (7)
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Treble (Alto) Recorder, Piano (7)
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Flute, Clarinet (duet) (7)
6 Instruments à Cordes et Bas… (7)
Woodwind Quintet (7)
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Guitare Tablatures Flatpick et… (7)
Clavier Ou Piano (7)
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Solistes SATB, Choeur SATB, Fl… (7)
3 Clarinets (trio) (7)
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Violon 1, Violon 2, Alto, Viol… (7)
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Book (7)
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Madrigaux (7)
Conga (7)
Trumpet, Orchestra (6)
Harpsychord (6)
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Choeur Mixte (SATB), Soli Et O… (6)
5 Cordes Ou 5 Flûtes A Bec (S… (6)
Clavecin Et Instruments A Cord… (6)
Orchester (6)
Clarinet, Cello, Piano (trio) (6)
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Solistes, Div. Instruments à … (6)
Guitare Tablatures Electrique (6)
Oboe, Clarinet, Bassoon (trio)… (6)
Guitare Tablatures Flatpick et… (6)
Matériel D'Orchestre (6)
Flexible Instrumentation (6)
Choeur SATB, 2 Violons, Violon… (6)
Libretto (6)
Concert Band ou Harmonie et Ch… (6)
Organ, Piano (duet) (6)
2 Sopranos, Choeur Mixte (SATB… (6)
Harp, Flute (duet) (6)
Fake Book (6)
Guitar, Violin, Piano (6)
Choeur D'Enfants (SMezA) Avec … (6)
Quintette Avec Piano (6)
Trombone (band part) (6)
Parties Orchestrales (6)
Cajon (6)
Violon II (6)
Voix Et Orchestre (6)
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Flute Quartet: 4 flutes (6)
Set de Cordes (6)
Tuba and Piano (6)
Flute, Violoncello (6)
Saxophone Ténor et Piano (6)
Xylophone (6)
Cornet and Piano (6)
String Trio: 2 violins, viola (6)
Drum set and Piano (6)
Cours Complets (5)
Chamber Music (5)
Cello, Organ (5)
Choeur Mixte a Cappella (5)
Harpsichord and Strings (5)
Choeur SATB, 2 Hautbois, 2 Cla… (5)
String Quintet: 2 violins, vio… (5)
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Solistes, Div. Instruments à … (5)
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Cello Ensemble (5)
Solo S, Flûte à Bec C2 ou Ha… (5)
Cuivres (4) (5)
Opéra (5)
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Pin's (5)
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CD only (5)
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Trompette 2 (5)
Soli (STBar), Gemischter Chor … (5)
2 Percussions (5)
SAM a Cappella (5)
Chant, Percussions Scolaires E… (5)
Solistes SAB, Choeur SATB, (2 … (5)
2 Violons, Alto, Violoncelle (5)
Soprano Saxophone (5)
Trio avec Piano (5)
Voix, Instruments (5)
Guitar and Bass Tablatures, Ch… (5)
Horn Ensemble (5)
Ukulele Ensemble (5)
Trombone ensemble (5)
Soprano Saxophone and Piano (5)
Handbells (5)
Diverses Formations (5)
Baryton Et Orchestre (5)
Partition D'Orchestre (5)
Treble (Alto) Recorder, Basso … (5)
Solo instrument and Organ (5)
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Maillets (5)
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Soprano (5)
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Clarinette Alto (4)
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Cor Anglais, 2 Violons et Viol… (4)
Quatuor avec Piano (4)
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Trompette et Quintette à Cord… (4)
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2 Clarinettes, 2 Bassons et 2 … (4)
Soprano voice, Orchestra (4)
2 Clarinets, Piano (4)
2 Violons, Violoncelle, Basse … (4)
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Violon, Alto, Violoncelle et C… (4)
6 Instruments à vent, Cordes … (4)
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Choeur D'Hommes, Choeur D'Enfa… (4)
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Autoharp (4)
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2 Oboes and English horn (4)
Saxophone and Orchestra (4)
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Accordéon, Vibraphone et Mari… (4)
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SAM et Piano (4)
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Percussions 2 (4)
Violon I (4)
Flûte Traversière, Alto et V… (4)
English Horn (4)
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Voice, Piano (4)
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Bracelet (4)
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Partition D'Orchestre In 16 Po… (4)
Guitar, Orchestra (4)
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Orchestre De Chambre (4)
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Bagpipe (4)
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Flûte Traversière Cordes et … (4)
Viola and orchestra (4)
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Quintette Variable (4)
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Baritone Saxophone (4)
Livre Musical (4)
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String Trio: 2 violins, cello (4)
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Educatif (4)
Guitare et Voix (4)
Mélodie, Chant et Guitare Tab… (3)
4 Tubas (3)
2 Violons Et Violoncelle Ou Or… (3)
Concert Band ou Harmonie et Cl… (3)
Flûte A Bec Soprano Et Flûte… (3)
Saxophone Alto et Fanfare (3)
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1 Ou 2 Flûte(s) Traversière(… (3)
Haute-Contre (3)
Harpe Diatonique (3)
1 Ou 2 Flûte(s) A Bec Alto (3)
Choeur Mixte (SSATB) et Instru… (3)
Oboe, Percussion (3)
Quatuor de Cuivres graves et O… (3)
Choeur SSATTB et Basse Continu… (3)
Trompette ou Cornet à Pistons… (3)
Musiclet Publications (3)
Lyrics & Chords (3)
Clavier (3)
Flûte Et Instruments Divers (3)
Clarinette, Basson, Trompette… (3)
String Quartet : 4 violas (3)
2 Flûtes A Bec Soprano Et Bas… (3)
Piano Quartet: piano, 2 violin… (3)
Double bass, Orchestra (3)
Piano, Violon et Cor ou Alto o… (3)
2 Saxophones, Piano (3)
Tuba et Euphonium (3)
4 Euphoniums (3)
Instruments à Vent (3)
Bongos (3)
Solistes SSTB, Choeur SATB/SAT… (3)
Solistes, SATB et Orchestre (3)
Harpe et Piano (3)
Snare drums, Piano (3)
Choeur SATB, 2 Hautbois, 2 Cla… (3)
4 Cuivres (3)
Voix Elevée(s) Et Guitare (3)
Descant (Soprano) Recorder, Ba… (3)
Saxhorn and Piano (3)
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Voix Haute (3)
Organ and Brass Quartet (3)
Flûte Traversière, Hautbois … (3)
3 instruments in Ut (3)
Sac De Musique (3)
Quintette de Cuivres (3)
5 Euphoniums (3)
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Didgeridoo (3)
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Fiddle (3)
Actes De Colloque (3)
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Orgue Et Choeur (3)
T-shirt (3)
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Fanfare Band (3)
1 Piano, 6 hands (3)
Tenor Banjo (3)
Choeurs (3)
5 Cordes Ou 5 Flûtes A Bec (S… (3)
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Guitare Tablatures Classique (3)
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5 Part Ensemble (3)
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2 English horns and Pianoforte… (3)
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Choeur d'Enfants (3)
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ENS::Ensemble d'cole (3)
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Tambour Seul (2)
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XYLOPHONE/VIB/MAR::Xylophone, … (2)
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Soprano voice, Organ (2)
2 Trompettes En Do Ou Sib Et O… (2)
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Mendelssohn F. - Concerto In E Minor Op.64 (1844) - Violon and Piano
Violin and Piano
Barenreiter
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 e...
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Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive Mendelssohn?s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ?child prodigy? Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn?s approval. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. Mendelssohn is full of praise for Léonard?s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)
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Mendelssohn F. - Concerto In E Minor Op.64 (1845) - Violon and Piano
Violin and Piano
Barenreiter
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Z...
(+)
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn?s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ?child prodigy? Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn?s approval. That the young violinist made a positive impression on the composer is confirmed in the latter?s correspondence following their joint performance. Mendelssohn is full of praise for Léonard?s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)
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Isaac Albéniz: Malaguena From Rumores De La Caleta: Violin: Instrumental Work
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Violin and Piano
[Sheet music]
Unión Musical Ediciones
Malaguena From Rumores De La Caleta
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Fritz Kreisler: Aucassin & Nicolette: Violin: Instrumental Work
Violin and Piano
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Schott
Aucassin & Nicolette
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Felix Mendelssohn Bartholdy: Konzert In E - Performing Edition: Violin:
Violin and Piano
Barenreiter
Für Violine und Orchester Op. 64-Mendelssohn’s Violin Concerto op. 64 is...
(+)
Für Violine und Orchester Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the premi?re; the ‘child prodigy’ Joseph Joachim; and Hubert L?onard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to L?onard.The letter informs us that the composer invited L?onard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to L?onard.The recently discovered proofs reveal how L?onard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how L?onard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for L?onard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)
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Oasis (BOCQUELET FRANCOIS)
Français
Violin and Piano
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Lafitan, Pierre
Par BOCQUELET FRANCOIS. 1’20’’ / Niveau : Préparatoire / Répertoire / V...
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Par BOCQUELET FRANCOIS. 1’20’’ / Niveau : Préparatoire / Répertoire / Violon et Piano
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Berceuse (VILLETTE PIERRE)
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Violin and Piano
[Sheet music]
Combre
Par VILLETTE PIERRE. / Niveau : Fin Du 1er Cycle / classique / Répertoire /...
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Par VILLETTE PIERRE. / Niveau : Fin Du 1er Cycle / classique / Répertoire / Violon et Piano
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Ravel Maurice - Tzigane - Violon and Piano
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Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ra...
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Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D?Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer?s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of ?Tzigane? from the estate of Jelly D?Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D?Aranyi?s fingering
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Maurice Ravel: Tzigane: Violin: Instrumental Work
Violin and Piano
Barenreiter
Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hung...
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Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim Jelly D?Aranyi in concert in London. Following the performance Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano producing a sound similar to the rich overtones of the Cimbalon) the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel laterorchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version complete with full score and performance material as well as in the composer?s earlier version for violin and piano. All known sources including letters have been drawn on for the new edition; one of the available sources consulted for the first time was a copy of ?Tzigane? from the estate of Jelly D?Aranyi which is today part of a private collection. The version for piano and violin contains besides the Urtext part a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D?Aranyi?s fingering
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Johannes Brahms: Sonata Movement in C minor from the FAE-Sonata: Violin:
Violin and Piano
Barenreiter
Sonata WoO postum for Violin and Piano-Edited by Clive Brown and Neal Peres Da C...
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Sonata WoO postum for Violin and Piano-Edited by Clive Brown and Neal Peres Da Costa with an Urtext solo part as well as a second part with performance markings.Johannes Brahms The Works for one Instrument and Piano:Johannes 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 playerswho first performed these compositions including Brahms himself.The New Urtext Editions:Bärenreiter?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
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Christopher Norton: Microjazz Violin Collection Book 1: Violin: Instrumental
Violin and Piano
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Easy
Boosey and Hawkes
A set of twenty fun pieces for the early Violin student complete with a pull-ou...
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A set of twenty fun pieces for the early Violin student complete with a pull-out booklet of Piano accompaniments. All pieces are designed not only to offer fun and variety to your lessons but to challenge the technical details of your playing. You will find unusual counting and rhythms staccatos and rests and more lyrical pieces that require careful phrasing and dynamics.This blend of popular and classical melodies is an excellent opportunity to develop the beginnings of your own repertoire and to gain vital early experience in accompanied performance.
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Take The Lead - Rock 'n' Roll + Cd - Violin And Piano
Violin and Piano
[Sheet music + CD]
Faber Music Limited
Take the lead is an integrated series for alto saxophone, clarinet, flute, piano...
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Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar. 'Take the Lead Rock 'n' Roll' features idiomatic arrangements of rock 'n' roll classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun. Contents: Be-Bop-A-Lula; Blue Suede Shoes; Blueberry Hill; C'mon Everybody; Great Balls Of Fire; Jailhouse Rock; Let's Twist Again; The Green Door
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Three Pieces For Violin/Piano Op. 11
Violin and Piano
Novello & Co Ltd.
Three Pieces For Violin And Piano Op.11 were the first works to be written by co...
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Three Pieces For Violin And Piano Op.11 were the first works to be written by composer Ian Venables after he moved to Worcestershire in 1986. The pieces, Pastorale, Romance and Dance have been called some of the most beautiful pieces for Violin and Piano ever composed.Brimming with melodic invention and radiant lyricism, the music of Three Pieces For Violin And Piano is both rich and varied. Pastorale begins the interplay between the Violin and the Piano with a beautifully relaxing melodic accord, with an Elgarian influence firmly on its sleeve. Romance exhibits the best kind of artistic simplicity, a musical love-letter featuring an achingly heartbreaking conversation between the two instruments, often ambiguous in its outlook. Dance concludes the Three Pieces with a rhythmically upbeat melody laden with staccato that unfolds into a lovely harmonic concordance, a fitting end to this series of dialogue between the Violin and Piano.Ian Venables' Three Pieces For Violin And Piano Op.11 is a beautifully composed work that is guaranteed to have audiences craving more of such a lovely interplay of these two instruments. / Violon Et Piano
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Gymnopédie #1
Violin and Piano
Schott
La scène musicale a pris connaissance d'Erik Satie (1866-1925) tout d'un coup: ...
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La scène musicale a pris connaissance d'Erik Satie (1866-1925) tout d'un coup: La première mondiale de 'Parade' son ballet le 18 mai 1917 [siehe dt. Texte!] Causé tout un scandale. La production qui a impliqué Serge de Diaghilev avec son 'Ballets Russes', Pablo Picasso (décors et costumes), Jean Cocteau (histoire) ainsi que Léonide Massine (chorégraphie) divisé la scène musicale de Paris, mais fait le compositeur bien connu. Satie qui avait à peine une solide formation musicale et a vécu à Paris pendant presque toute sa vie au point un nouveau style musical, le rejet délibéré de l''Wagnérisme de son époque. Modèles de forme classique, des harmonies nouvelles, la facilité stylistique, méditatives et des éléments fusionnés clownesques d'une manière originale, l'exemple parfait étant ses '3 Gymnopédies 'de 1888, le premier ayant été disposées ici pour instrument solo avec accompagnement de piano: Ainsi, il est désormais possible, même pour les non-pianistes, de jouer à ce célèbre miniature de Satie. Merci à sa jouabilité facile, il peut également être utilisé à des fins éducatives. / Violon Et Piano
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Ian Venables: Three Pieces Op. 11: Violin: Instrumental Work
Violin and Piano
Novello & Co Ltd.
Three Pieces For Violin And Piano Op.11 were the first works to be written by co...
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Three Pieces For Violin And Piano Op.11 were the first works to be written by composer Ian Venables after he moved to Worcestershire in 1986. The pieces Pastorale Romance and Dance have been called some of the most beautiful pieces for Violin and Piano ever composed. Brimming with melodic invention and radiant lyricism the music of Three Pieces For Violin And Piano is both rich and varied. Pastorale begins the interplay between the Violin and the Piano with a beautifully relaxing melodic accord with an Elgarian influence firmly on its sleeve.Romance exhibits the best kind of artistic simplicity a musical love-letter featuring an achingly heartbreaking conversation between the two instruments often ambiguous in its outlook. Dance concludes the Three Pieces with a rhythmically upbeat melody laden with staccato that unfolds into a lovely harmonic concordance a fitting end to this series of dialogue between the Violin and Piano. Ian Venables' Three Pieces For Violin And Piano Op.11 is a beautifully composed work that is guaranteed to have audiences craving more of such a lovely interplay of these two instruments.
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RAVEL MAURICE - SONATE / BERCEUSE SUR LE NOM DE GABRIEL FAURE - VIOLON and PIANO
Français
Violin and Piano
Barenreiter
Ravel, Maurice
Sonata / Berceuse sur le nom de Fauré for Violin and Piano<...
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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
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Dueling Carmens: Two Carmen Fantasies (SARASATE PABLO DE / HUBAY JENO)
Violin and Piano
[Sheet music]
Hal Leonard
by Hubay and Sarasate for Violin and Piano. Par SARASATE PABLO DE / HUBAY JENO. ...
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by Hubay and Sarasate for Violin and Piano. Par SARASATE PABLO DE / HUBAY JENO. Georges Bizet\'s opera Carmen had its first performance in Paris in 1875. In the audience was the 17-year-old Hungarian violin virtuoso and budding composer Jenö Hubay. After the performance Hubay started writing his Carmen Fantasy from memory. The following season for his debut recital in Paris, he included his newly created composition. It is a lyrical work of great beauty and brilliance. Hubay combined his career of a concertizing virtuoso, composer and violin pedagogue. At the Royal Conservatory in Brussels he became the successor of Vieuxtemps and Wieniawski. Later, Franz Liszt invited Hubay to lead the violin department in the newly created Budapest Music Academy. He created the world-renowned Hungarian school of violin playing. His student, Franz von Vecsey, recorded theCarmen Fantasy in 1904 at age 11! His other students included Joseph Szigeti, Zoltán Szekely, Sándor Végh, Endre Gertler, György Garay and many more. Hubay was a very active composer, creating over 120 works including operas, ballets, concertos, songs and instrumental compositions. Pablo de Sarasate wrote his Carmen Fantasy in 1882. It is a composition of drama and passion, written with his unparalleled brilliance for violin writing. This work has remained in the standard repertory, on programs of virtuoso soloists, as well as a required work for major competitions. / Date parution : 2021-12-09/ Recueil / Violon et Piano
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STUDIO GHIBLI SONGS FOR VIOLIN and PIANO - INTERMEDIATE
Violin and Piano
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Intermediate
Yamaha
8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghi...
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8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghibli cinemas 1. Carrying You 2. Hey Let's Go 3. The Path of the Wind 4. Nausicaa of the Valley of the Wind - Opening theme 5. A Town with an Ocean View 6. Always with Me 7. Merry-Go-Round of Life 8. Ponyo on the Cliff by the Sea / Musique films - comédies musicales / Yamahamusic
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Diverse: Celtic Play-Along Violin: Violin: Play-Along
Violin and Piano
[Sheet music + CD]
Universal Edition
Play-Alongs Bekannter Stücke Aus Irland Schottland Wales Dem Cornwall und De...
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Play-Alongs Bekannter Stücke Aus Irland Schottland Wales Dem Cornwall und Der Bretagne-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. ?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge of theindividual traditions in question and naturally he offers plenty of information on performance practice. The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.
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Sonate Pour Piano Forte Et Violon Op. 24
Violin and Piano
Barenreiter
In May of 1802, the ?Allgemeine musikalische Zeitung? praised the violin sonatas...
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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.
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The Art of the Bow (TARTINI GIUSEPPE)
Violin and Piano
[Sheet music]
Hal Leonard
Variations on a Theme of Corelli for Violin and Piano. Par TARTINI GIUSEPPE. Als...
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Variations on a Theme of Corelli for Violin and Piano. Par TARTINI GIUSEPPE. Also known as Variations on a Theme of Corelli, The Art of the Bow is widely considered the first great method for violin. Aside from being invaluable to the development of technique, the variations which include piano accompaniment also serve as rich and rewarding solo material for recitals. This edition by Heifetz protege, Endre Granat, is based on comparison of the first three published editions and features meticulous attention to the details of bowing and fingering. Included in the publication is a letter from Tartini to his then 14-year-old violin student, Maddalena Lombardini, detailing an important lesson to violin performers which contains examples from this very imaginitive and musical set of variations. / Date parution : 2021-11-03/ 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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