Trinity Performance Editions showcase new works by contemporary composers. Each edition is dedicated to one composer and instrument. Many pieces from the series are featured on Trinity???s exam syllabuses whilst others are simply enjoyable to learn and play and provide great transition pieces between grades. All are excellent recital pieces and performance notes written by the composer are available online along with further digital resources.

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer gave the first performanceon 31 July 1962 at the Royal Albert Hall London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately while at the same time the whole set of fiveconstitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone and its inversion plays an important part in every piece. Thus the first piece which is of a slow and meditativecharacter begins with this theme in the bass. It is also heard in the first entry of the solo part and thereafter every episode is in some way derived from it. The next piece a vigorous and strongly marked ‘allegro’ uses thesemitone of the original figure as its starting point. A second theme appears first on the horns and is later taken up by the solo violin while a third section has the initial idea as its accompaniment. Next comes an extendedscherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the firstsection violas and cellos are divided in the middle section and all the strings are used in the last which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others concernedmainly with giving the soloist material for display but not unconnected with what has gone before.

Transcriptions for Violin and Piano. This long-awaited collection by internationally renowned violinist Simon Fischer offers brilliant additions to the violin repertoire. His transcriptions follow in the tradition of romantic arrangements from the 19th and 20th centuries and are intended for current performance practice on modern instruments. Including transcriptions of popular melodies and less well-known music, this collection provides virtuosic as well as easier repertoire suitable for both encores and recital pieces.

100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. Level: Beginner The First Book of Classical Violin offers a selection of 100 melodies from classic repertoire, the result of Andrea Cappellari's many years of research and experience in music teaching. Students of any age will be able to perform melodies by classical composers from the very first lessons. All 100 short melodies consist of a minimum of three and a maximum of eight notes. Only basic rhythmic note values are used, from the eighth note to the whole note. The pieces are presented in progressive order of difficulty, and are in the most appropriate keys for the instrument. The simple piano accompaniments encourage ensemble playing at a beginner level and the recorded piano accompaniments are an excellent tool for practicing. A few selected melodies also have a second violin part as part of the recorded accompaniment. The book also includes a separate instrumental pull-out part. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Debussy wrote his solitary Violin Sonata in the closing days of his life plagued by the distress of the ongoing Great War financial difficulties and health issues of a terminal cancer. Shortly afterits completion in April the first performance took place on May 5th 1917 with Debussy himself at the Piano. This was the composer?s last public appearance before his death in 1918.The Sonata For Violinand Piano was the third and final composition in a cycle intended to consist of six sonatas for various instruments. It has an overall atmosphere of melancholy while also capturing contradictory characteristics such asjoy and silliness presented in a form closer to a fantasia than a sonata. The three expressive movements (Allegro vivo Intermede and Finale) are written in a French nationalistic spirit withdistinctive influences from Spanish and gypsy music throughout. This ambiguousness and ambivalence in form sound and character all attribute to Debussy?s innovative language of ?musical impressionism? which has become afavourite of musicians and audiences alike.The comments at the end of this Urtext edition provide detailed information on the sources and alternative readings while the preface by François Lesure in German English andFrench gives historical and biographical context. Two copies of the Violin solo are included as separate inserts.

Grade 3-4-A series available as violin duets or violin & piano.Whether a student or a great artist the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician's voice the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing these pieces came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. Thepurpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student's tone production and intonation through his own sound as much can be taught by good example. This music is also available for violin and piano with piano accompaniments written by Heidi Rolfe.Finally I think that children enjoy the challenge of expressing different moods and emotions musically and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel Goldberg.

Among the best of Jean Sibelius’ oeuvre are his 1917 compositions the Humoresques. This fabulous and charming concerto was divided into two groups for publication Opus 87 and Opus 89 and demonstrates his sublime skill with the Violin. He used a considerably smaller Orchestra accompaniment to the Violin in the second group but maintained the subtlety of depth and texture. Though there are traditional elements to all parts of this opus Humoresque No. 4 harks back to the past the most reminiscent of the delicacy of mid-nineteenth century musical miniatures. Virtuosic and challenging the soloist has the opportunity to indulge in a more traditionallyexhibitionistic display. This work features a seperate Violin part with a Piano reduction of the String Orchestra by Karl Ekman.

Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.

Whether a student or a great artist the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician's voice the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing these pieces came from the wish to give young students music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the accompanuments is therefore to enable the teacher to underline theharmony as well as to influence the student's tone production and intonation through his own sound as much can be taught by good example.Finally it is the author's belief that children enjoy the challenge of expressing different moods and emotions musically and it is hoped that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.

Volume 2-The three pieces that form op 4 Idylle Pastourelle and Virelai were published in 1883 with French titles to add glamour and appeal. All three works feature long attractive melodies with well-developed accompaniments. The pair that form op 13 Mot d’Amour and Bizarrerie are more contrasting in nature. Mot d’Amour was composed to pair with Salut d’Amour but was the less appealing of the two while Bizarrerie has distinct Spanish elements and is suggested by the editor Barry Collett as a fine encore piece.Violin was of course Elgar’s own instrument and the writing is idiomatic and sensitively created for the instrument.

Composed in 1884 for Violin or Cello and small Orchestra this is one of Elgar's most popular works for accompanied soloist and has been transcribed for a variety of instruments This arrangement is for the original solo instrument - the Violin with a Piano reduction of the Orchestral accompaniment.

Lotus Land was undoubtedly the work for which Scott is best known. Written in 1905 Lotus Land achieved great popularity and was arranged for a vast array of instruments. It is a dreamy impressionistic piece and extremely innovative for its era. Cyril Scott was a British composer active from the very late 19th century and through the 20th whose work could be termed late Romantic with elements of impressionism with free use of exotic harmonies. Scott was an extremely prolific composer who left more than four hundred works ranging from symphonies operas and concertos to many works for smaller ensembles solo instruments and short songs.Virtuoso Violinist Fritz Kreislerwas the premier Violinist of his day and some believe the greatest Violinist of all time. In addition to his original compositions Kreisler often transcribed or arranged the work of other composers.

This collection of seven showpieces for violin and piano will provide a variety of exciting repertoire from Schubert's poignant 'Ave Maria' to technical showpieces such as Brahms' 'Hungarian Dance No. 1'. All the pieces havebeen carefully edited by Tasmin Little and include suggested fingerings and bowings. Suitable for competent players.including and De Falla's 'Danse Espagnole'.

Gypsy Jazz sets off on an exotic tour of folk culture concentrating on Eastern Europe. Adventurous violinists will travel as far afield as Hungary Turkey Russia and Romania and bring back an interesting and exciting bag of musical souvenirs. For the developing violinist this music opens up a world of contrast and colour shade and style. These pieces with their flavour of gypsy/folk and cafe music call for a flamboyant heart-on-sleeve style of playing.Gypsy Jazz Intermediate Level is a fantastic book introducing styles from across Europe with pieces for Violin with Piano Accompaniment which have been selected edited and arranged byPolly Waterfield and Timothy Kraemer. With accessible piano accompaniments the seven contrasting pieces in this book are a must for all violinists.The solo violin part is also included on a separate insert.