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Tea for Two
AUTOHARP
Violin and Piano
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Play Jazztime (HUWS JONES EDWARD)
Violin and Piano
[Sheet music]
Faber Music Limited
Par HUWS JONES EDWARD. Play Jazztime presents a selection of world-famous hits f...
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Par HUWS JONES EDWARD. Play Jazztime presents a selection of world-famous hits from this brilliant, brittle era- from the seductive melodies of Arlen to the archetypal Twenties hits Charleston and Five foot two, eyes of blue. Relive the age of Gatsby- and Play Jazztime! / Instrumental Music / Recueil / Violon et Piano
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Bartók For Violin
Violin and Piano
[Sheet music + CD]
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Intermediate
Boosey and Hawkes
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements o...
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The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Violin features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for violin with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Violon Et Piano
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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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Mario Castelnuovo-Tedesco: Chant Hébraïque For Violin And Piano. Sheet Music for Violin Piano Accompaniment
Violin and Piano
[Sheet music]
Leduc, Alphonse
Born into a family that had lived in Florence since the expulsion of the Jews fr...
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Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers’ place of worship. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. It would take until the death of his maternal grandfather and the discovery of a collection of prayers set to music among his papers for the youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that it led to several adaptations and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a “Wailing Wall” Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note.
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Edward Mollenhauer: The Infant Paganini for Violin and Piano: Violin:
Violin and Piano
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Easy
Barenreiter
Fantasia for Violin and Piano-Born in Erfurt the composer Edward Mollenhauer (1...
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Fantasia for Violin and Piano-Born in Erfurt the composer Edward Mollenhauer (1827 1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are The Infant Paganini and The Boy Paganini.The Mollenhauer fantasia The Infant Paganini is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché legato spiccato and arpeggios over three strings. Players are also expected to play harmonics and pizzicato.This showpiece (BA 10691) can be accomplished by young violinists who can play in first to third position and who are nearing completion of theSassmannshaus Early Start on the Violin volume 4.The Boy Paganini is an impressive concert piece which is more demanding. Its two movements call for changes of metre harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves.On the Violin (BA 10692) the technical requirements call for first to fifth position. Violinists should have completed volume 4 of Early Start on the Violin in order to master this work.- Popular recital pieces for young violinists and cellists.- Both works form an ideal continuation of the Sassmannshaus Early Start methods.
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Antonio Vivaldi: Concerto For Violin In G Op.3/3: Violin: Instrumental Work
Violin and Piano
Barenreiter
Vivaldi achieved popularity throughout Europe with his collection “L&rsquo...
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Vivaldi achieved popularity throughout Europe with his collection “L’estro armonico” Op.3. He wrote the cycle which consists of twelve violin concertos (including Concerto Op.3 No.3 featured here) for the orchestra of the “Ospedale della Pietà” where he was teacher and director for many years.The two fast outer movements from opus 3/3 feature ritornelli combined with more virtuosic solo sections as was prevalent at the time. This ritornello form gives structure to the movements. It also gives the student who plays both the solo and tutti sections in this edition the opportunity to vary the returning motives interms of dynamics and ornamentation. In the short but expressive Largo distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practise various bowing techniques.
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Cigany Konnyek (Gypsy Tears) (REGISTER P)
Violin and Piano
Alry Publications
Par REGISTER P. BRENT. Cigány Könnyek (Gypsy Tears) by P. Brent Register is a ...
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Par REGISTER P. BRENT. Cigány Könnyek (Gypsy Tears) by P. Brent Register is a work in two parts for violin and piano. The opening section, free and almost improvisatory, leads to a rhythmically charged and vibrant dance in 5/8 time./ Répertoire / Violon et Piano
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My First Concert
Violin and Piano
Schott
The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for...
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The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons, first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs - from the Renaissance era via the Baroque, Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music, including motivating pieces from the areas of pop music, jazz, spiritual, bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already - all pieces are in the first position and can be played in the four fingering patterns. To two compositions requiring position playing, an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. / Violon Et Piano
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Maurice Hauchard: Gais Loisirs: Violin: Score
Français
Violin and Piano
Leduc, Alphonse
Gais Loisirs is a set of ten pieces by Maurice Hauchard for either Solo Violin ...
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Gais Loisirs is a set of ten pieces by Maurice Hauchard for either Solo Violin Violin and Piano or two Violins. These scores are the ones for Violin and Piano and can be played easily by intermediate players. These ten Gais Loisirs were mainly composed from popular tunes and can all be played separately. The ten pieces are: - Pour fêter petit père - Historiette sans paroles - Joyeux carillon - Menuet de polichinelle - Berceuse pour colinet - Gavottinette - Dans mon joli bateau - Mon joli château - EnAuvergne - Une petite valse Maurice Hauchard (1870-1957) is a French composer and violinist. He has composed a really efficient Violin method.
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Violin Recital Album Volume 2: Violin: Instrumental Work
Violin and Piano
-
Easy
Barenreiter
13 Recital Pieces in First Position for Violin and Piano or Two Violins-New reci...
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13 Recital Pieces in First Position for Violin and Piano or Two Violins-New recital pieces for the tried and trusted Sassmannshaus Violin method.All pieces written in first position.With a second Violin part for duet performance.Available in freely accessible recordings on YouTube.These two collections give young students and teachers a rich selection of recital pieces either to complement the Sassmannshaus Early Start on the Violin method or to play independently from it. As all the pieces are written entirely in first position they can be used after just a few months of lessons.The Piano part may be played by the teacher or an advanced student. As an alternative the accompaniment can be played by a secondViolin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes folksongs but also less well-known gems as well as original pieces by the editors all precisely tailored to meet the needs of young students.Kurt Sassmannshaus the editor of a great many string editions in the Bärenreiter catalogue continues the tradition founded by his father Egon Sassmannshaus in the Early Start string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the Cello.
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Concertino G Major, Op. 11
Violin and Piano
Schott
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th c...
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Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century, due, in large part, to his popular violin method. His Concertino remains a popular entry-level piece for students to this day.The piece is characterized by simplicity, clarity and beauty. The themes and melodies are easily identifiable by children, yet never trite and plain. They are catchy and perfectly reflect Küchler's educational ideology - 'to always separate the difficulties and never demand that the pupil overcome two difficulties at once?. The work is also available in an arrangement for solo violin with string quartet accompaniment (with double-bass ad lib.)(Schott, SE 1002). The viola part can be replaced by a third violin if necessary. By using the parts for multiple players, this can also be performed by a beginner string orchestra.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasure:Accompanying tracks of the pieces available as downloads / Violon Et Piano
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Violin Recital Album Volume 1: Violin: Instrumental Work
Violin and Piano
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Easy
Barenreiter
First Position-New recital pieces for the tried and trusted Sassmannshaus Violin...
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First Position-New recital pieces for the tried and trusted Sassmannshaus Violin method.All pieces written in first position.With a second Violin part for duet performance.Available in freely accessible recordings on YouTube.These two collections give young students and teachers a rich selection of recital pieces either to complement the Sassmannshaus Early Start on the Violin method or to play independently from it. As all the pieces are written entirely in first position they can be used after just a few months of lessons.The Piano part may be played by the teacher or an advanced student. As an alternative the accompaniment can be played by a secondViolin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes folksongs but also less well-known gems as well as original pieces by the editors all precisely tailored to meet the needs of young students.Kurt Sassmannshaus the editor of a great many string editions in the Bärenreiter catalogue continues the tradition founded by his father Egon Sassmannshaus in the Early Start string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the Cello.
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Edward Mollenhauer: The Boy Paganini: Violin: Instrumental Work
Violin and Piano
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Easy
Barenreiter
Fantasia for Violin and Piano-Born in Erfurt the composer Edward Mollenhauer (1...
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Fantasia for Violin and Piano-Born in Erfurt the composer Edward Mollenhauer (1827 1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are The Infant Paganini and The Boy Paganini.The Mollenhauer fantasia The Infant Paganini is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché legato spiccato and arpeggios over three strings. Players are also expected to play harmonics and pizzicato.This showpiece (BA 10691) can be accomplished by young violinists who can play in first to third position and who are nearing completion of theSassmannshaus Early Start on the Violin volume 4.The Boy Paganini is an impressive concert piece which is more demanding. Its two movements call for changes of metre harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves.On the Violin (BA 10692) the technical requirements call for first to fifth position. Violinists should have completed volume 4 of Early Start on the Violin in order to master this work.- Popular recital pieces for young violinists and cellists.- Both works form an ideal continuation of the Sassmannshaus Early Start methods.
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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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Mein erstes Konzert: Violin: Instrumental Album
Violin and Piano
[Sheet music + CD]
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Easy
Schott
22 leichte Vortragsstücke aus 5 Jahrhunderten-The edition 'Mein erstes Konzert'...
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22 leichte Vortragsstücke aus 5 Jahrhunderten-The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs – from the Renaissance era via the Baroque Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music including motivating pieces from the areas of pop music jazz spiritual bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already; all pieces are in the first position and can be played in the four fingeringpatterns. To two compositions requiring position playing an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. Learning to master the pieces is made easier by the accompanying CD which on the one hand provides the opportunity to listen to and get familiar with the pieces beforehand and on the other hand offers the opportunity to gain first experiences of ensemble playing with the help of the separately recorded Piano accompaniments.
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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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In My Garden 2 (IGUDESMAN ALEKSEY)
Violin and Piano
Universal Edition
Spaziere Ein Zweites Mal Durch Aleksey Igudesmans Fantastischen Garten!. Par IGU...
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Spaziere Ein Zweites Mal Durch Aleksey Igudesmans Fantastischen Garten!. Par IGUDESMAN ALEKSEY. Once again, Aleksey Igudesman invites all violin students into his imaginary garden to get to know a wide variety of fruits and vegetables. Ten imaginative pieces are waiting to be discovered. Furthermore, there are again coloring pictures and short and funny poems in three languages (English, German and French). While they are fun to play, Igudesman manages to convey technical aspects as well. All the pieces have thus an educational value and are equally suitable as teaching and performance material. For those who cannot get enough of Aleksey Igudesman's funny creations we recommend 'In the Zoo' (Volume 1, Volume 2). In these two albums, the author takes us on a visit to the zoo and introduces us to the animals living there./ Recueil / Violon et Piano
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Lili Boulanger: 2 Morceaux: Nocturne and Cortège: Violin: Instrumental Album
Violin and Piano
Hal Leonard
Lili Boulanger was the sister of the famous teacher Nadia Boulanger who taught A...
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Lili Boulanger was the sister of the famous teacher Nadia Boulanger who taught Aaron Copland Elliott Carter and Philip Glass amongst others. She was a composer for the last 10 years of her tragically short life - she died at 25 - and her music stands in the main line of French music exemplified by Faure somewhat tinged with the influence of Debussy's Impressionism. It is generally beautiful delicately coloured and touching. These challenging 'Two Pieces for Violin and Piano' exemplify these qualities. The Nocturne begins sparsely with bare octave figures wound about with a theme built from a repetitive rise-and-fall figure. As the texture become thickerthe violin becomes more virtuosic and begins to climb. There is no harmonic resolution until the final ppp note in the top register which is answered by an low octave from the piano. The Cortege is more lively without being fast. Shifting rhythmic accents tricky runs and contrasting dynamics make this an exciting piece.
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