Violin Part-Einstein On The Beach the opera from which Knee Play 4 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 4 is one of the number songs composed for scene changes using numbers and solfege syllables as text.American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them therenowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip GlassEnsemble.This is the Violin part for the fourth Knee Play from Einstein On The Beach.

Violinist Maria Bachmann and pianist Jon Klibanoff premiered Philip Glass' three-movement work Sonata For Violin And Piano on February 28th 2009 at Whitaker Center in Harrisburg Pennsylvania.The piece was commissioned by retired architect Martin Murray to commemorate the 70th birthday of his wife Lucy Miller Murray.

Philip Sawyers has an exciting list of published works that are written for a variety of ensembles and solo instruments. Over the last ten years he has enjoyed a growing recognition in America and now in London.

20 Progressive Pieces with Piano Accompaniment-Philip Sparke’s Skilful Solos is the second volume of a progressive series of solo books that takes the young string player from beginner to accomplished musician. Following on from the first book in the series Starter Solos this collection generally contains longer pieces suitable for the developing young musician. Specifically tailored for each instrument Skilful Solos introduces the concept of phrasing by suggesting suitable breathing points and takes the player into new keys with extended instrumental ranges new notes being introduced in a gradual and logical manner. Skilful Solos comes with a play-along CD. The advantages of playing either with piano or CD accompaniment arethat the beginning player can now experience the important aspects of ensemble playing from their earliest lessons thus developing the essential skills of listening while they play and maintaining strict tempo which is not always achieved when playing alone.

Par BERTHOUD PHILIP JOHN. Apprendre à jouer le violon irlandais est un ensemble de livre et deux CD qui introduit les débutants à la musique grands violon traditionnel de l\'Irlande, passant à droite les rudiments de détenir et de faire les premiers sons sur l\'instrument - par le biais de tunes spécialement composées, gérables dans le style irlandais - droite jusqu\'à jouant bobines traditionnelles, gigue et autre danse tunes tirés du répertoire traditionnel (le pont de mélodies composées spécialement l\'écart entre les notions de base et de la musique traditionnelle). Embellissements et des techniques qui permettent d\'irlandais bon fiddle jouant tellement contagieuse, tels que rouleaux, coupures, triplets et diapositives sont graduellement. L\'étudiant se familiariseront aussi avec certaines des idées plus avancées concernant jouant de la musique traditionnelle irlandaise, comme les variations et dynamique - sujets qui sont couverts en détail dans \' irlandais Fiddle jouer: un Guide pour le joueur sérieux \'livre/CD définit par le même auteur. Annexes utiles et un glossaire référencé sont également inclus. L\'accom... / Niveau : Débutant à Intermédiaire / Celtic/Irish - Methods / Méthode / Violon

Sonatas Wq 75-78 Arioso Wq 79 Fantasie Wq 80-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].

TWV 40:14 - 40:25-Georg Philipp Telemann (1681 - 1767) paid particular attention to the field of chamber music without bass. Intended for the amateur or student these pieces are genuine examples of Baroque music displaying an original devotion to music the effect of which can still be felt today. The 12 Fantasias for Violin without Bass 1735 formally display a cyclic construction with numerous variants. Elements of the sonata the concerto or the suite are taken up and expertly contrasted with one another. The richly developed part writing ensures full use of the playing possibilities of the instrument. About Bärenreiter Urtext: In the international musicworld “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Par JARNACH PHILIPP. Jarnach wrote three sonatas for solo violin - the second Sonata, Op. 11, was composed in 1913 and is dedicated to Max Reger. With the increase in interest in the music of the early decades of the 20th century, the works of the Busoni pupil Jarnach are experiencing a renaissance in the concert hall./ Répertoire / Violon

Cantata for the Second Advent. Par TELEMANN GEORG PHILIPP. / Répertoire / Violon

Par LAYE PHILIPPE / GARGALIAN SYLVAIN / BESOZZI FREDER. / Niveau : Cycle 1 / Recueil / Violon

XII Fantasie per il Violino senza Basso. Par TELEMANN GEORG PHILIPP. Xii Fantasie Per Il Violino Senza Basso/ Répertoire / Violon

Par LAYE PHILIPPE / GARGALIAN SYLVAIN / BESOZZI FREDER. / Niveau : Cycle 1 / Répertoire / Violon

Spielend for two violins was written during the summer and early autumn of 2003 and is based on the idea of the two instruments not only playing the instruments but also playing in the sense of sport i.e. playing their themes off against each other and playing with the musical material. There are times for instance when they seem to be having a contest to see who can finish the themes first or who can divert the other’s attention to a new texture or rhythm. The title the German word for 'playing' also refers in a way to the composer himself exploring the themes harmonies and rhythms - particularly notable in this respect is the large central slow section which contraststwo altered reminiscences of the Violin Sonata of Poulenc (a composer whose music is very dear to me) with the gradual expansion of a fugue from two parts to eight (four in each violin). Fugue after all is in a sense an example of a composer making sport however seriously with the themes.So the work is a kind of extended musical pun lasting about fifteen minutes in all and being performed without a break. Though the central section is slow the outer ones are quick and energetic emphasizing especially the idea of activity and vigour - the ending however may catch the unwary listener by surprise.The first performance was given by Philippa Mo and Peter Sheppard Skærved in Leighton House London on 7th May 2004.'John McCabe's new 'Spielend' strikes me as a miniature masterpiece: a highly charged 15-minute piece in which the violins chase or echo each other in a thousand different ways including a fugure in which as with Bach two instruments seemed to suggest a dozen voices.'            - Richard Morrison The Times 11/05/2004