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.

10 easy pieces inspired by animals in the zoo. Par IGUDESMAN ALEKSEY. Inspired by animals in the zoo, Aleksey Igudesman has written these ten pieces for elementary to intermediate-level violinists. A fun poem is also provided with drawings from penguins to pandas by Felicia Gulda. Ten animal-themed pieces for violin and piano Easy concert and teaching material The piano part is also suitable for moderately advanced players/ Recueil / Violon et Piano

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

Par IGUDESMAN ALEKSEY. Either of these pieces, for advanced players, would make an exceptionally unusual and entertaining concert item. The writers, Aleksey Igudesman and Hyung-ki Joo, have stunned audiences, critics and fellow musicians worldwide with their combined musicianship and hilarious antics. They have now applied their skills and written these pieces specifically for the competition 'Feast of Duos' but they are equally suitable for any concert performance. Performers are warmly encouraged to ignore or elaborate on the theatrical suggestions provided in favour of any ideas of their own and can perform their creations with good wishes from Aleksey Igudesman and Hyung-ki Joo. Funny, entertaining pieces that are nonetheless finely crafted musical creations in themselves Performance notes and acting cues are provided whilst performers may make changes and find their own interpretation Each piece can stand alone as a concert item/ Recueil / Violon et Piano

Colloquy was written for Manoug Parikian and Lamar Crowson for their recital at the Cheltenham Festival in 1960.There are four concise movements. The first a fast movement with vigorous rhythmic motifs and sharp contrastsbetween sections. The second a scherzo in rondo form with lyrical episodes. In the third movement the material is at first very fragmented but then builds with cumulative effect to the climax at the end which is the mainclimax of the work. The last movement is slow and short.

The symphony is often regarded as the pinnacle of orchestral composition and undoubtedly it is a musical form used by composers to write some of their most famous and best-loved melodies. This three-volumed Young Symphonist was created in order to introduce the budding violin student to these wonderful tunes.The music has been carefully selected arranged and adapted and incorporates relevant finger patterns position changes and bowing techniques in order to meet the technical challenges of specific exam levels. The piano accompaniments have been kept quite simple and idiomatic.The symphonic themes are presented in chronological order and eachcollection includes examples from the 18ths 19th and 20th centuries. There is an opportunity to become familiar with the works of the great masters - Mozart Haydn Beethoven Brahms Mahler Schubert Elgar - and also experience the music of some less familiar composers such as Myslivicek Vanhal and Salieri.

A special edition of Vivaldi's celebrated set of four Concertos For Violin together in one sumptuous volume. First composed in 1725 the pictoral themes and textures of Vivaldi's The Four Seasons have become some ofthe most widely performed and familiar musical moments ever composed. From the swift and blossoming delights of Spring to the sparse tensions of Winter the concertos have become required repertoire for anyconcert Violinist with globally popular performances from Nigel Kennedy Yehudi Menuhin and many more. This new edition from Schirmer's Library Of Musical Classics brings together all four concertos in one volume at anexcellent price complete with Piano reductions - the perfect opportunity to add these wonderful and historically significant works to your own repertoire.

Stephen Albert's Tribute for Violin and Piano. Score and part. Duration: approx. 9 minutes.'Tribute revolves on a dual axis comprised of two lyrical themes that generate theother musical ideas appearing throughout this one movement work. The first theme is given to the Piano in the opening and the second theme is announced by the Violin on the heels of the opening Piano section. Both themes aredeveloped and elaborated on woven in and around one another until they are at length transformed into new themes that are more dramatic and rhythmic than their lyrical forebears. The end of the work is announced when ahymn-like section commences in the Piano after a genuinely loud climatic section.' - Stephen AlbertTribute was commissioned by the McKim fund for the Library of Congress 1988.The premiere performance took place on October 28 1988 Edna Mitchell Violin Frank Glazer Piano The Library of Congress Washington D. C.

As a passionate composer organist and ornithologist many of Olivier Messiaen's works incorporate these three elements. However he took a different stance for his Thème et Variations for Violin and Piano composing it as a wedding present for his first wife Claire Delbos in 1932. The couple gave its first performance during the same year. Admitted to the Paris Conservatoire at the mere age of eleven Olivier Messiaen (1908-1992) was an outstanding pupil winning many prizes. Thème et Variations was composed shortly after his appointment as titular organist at the Sainte Trinité church inParis and is often considered to be characteristic of his famous Quatour pour la fin du temps. Made up of a theme and five variations it begins simplistically before entering the complex variations. The theme is composed in common time and at a moderate tempo. Each variation varies in dynamics time signature tempo tonality and rhythm among other elements; however Messiaen cleverly retains suggestions of the theme all throughout. Challenging as it is Thème et Variations is an exciting varied and compelling performance piece for all advanced violinists.