Niveau 2 Volume 1. Par LABROUSSE-BAERT SARAH. Un recueil de 5 chefs d'oeuvre classiques arrangés pour Violon et Piano : 1 - HAYDN - Serenade du Quatuor à Cordes Op. 3 No. 5, 2 - FAURE - Berceuse Op. 16, 3 - CORELLI - La Follia, 4 - MASSENET - Méditation de Thaïs, 5 - RIES - Perpetuum Mobile Op. 34 No. 5 - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Violon 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : Plus de 15 mns - Style Musical : Classique, Pédagogique - Catégorie : Arrangement - Compositeur : Sarah LABROUSSE-BAERT - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Recueil / Violon et Piano

Par HAHN. Composed by Reynaldo Hahn, Romance In A Major is a chamber piece for Violin and Piano, for upper-intermediate players. This melodious piece is written in one main movement and is perfect for a recital. Starting 'Très modere' with the main theme, the piece later become quieter 'calme' with some variations of this main theme. Really romantic, it is sometimes indicated which string to play and the Piano accompanies the Violin with some flawless arpeggiated semiquavers. Reynaldo Hahn was a naturalised French composer, conductor, theatre director and singer. Best known as a composer of songs, healso wrote many pieces and melodies for different instruments./ Répertoire / Violon et Piano

Par HAHN. Having been considered as a 'fashionable' and 'cliche' composer of his day, Hahn 's compositions are possibly not as well-known as they ought to be. Sonata In C Major for Violin and Piano, however, shatter these prejudices held, representing the engaging diversity of the composer's music. Venezuelan-born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet, before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art andhis compositions often contain expressions of his otherwise hidden emotions and moods. Sonata In C Major contains a variety of different features, making for a pleasant and evocative piece for advanced violinists./ Répertoire / Violon et Piano

8 arrangements for solo violin and piano in intermediate level from 7 Studio Ghibli cinemas 1. Nausicaa Requiem 2. My Neighbor Totoro 3. on a Clear Day 4. Le Temps des cerises(The Time of Cherries) 5. Princess Mononoke 6. The Legend of Ashitaka 7. Reprise 8. Mother Sea / Musique films - comédies musicales / Yamahamusic

for Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and

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

A pioneering set of Urtext editions.String editions include an Urtext solo part and a second part with fingering as well as performance markings.Each edition offers a preface on performance practice aspects pertaining to the respective works.A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms? chamber music.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 offertoday?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.The Violin and Viola sonata editions come not only with an Urtext part freed from all editorial emendations but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim?s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms? associate Franz Kneisel. A similar approach has been used for the Violoncello sonatas drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major) Hugo Becker with whom Brahms performed it and Julius Klengel who was also close to his circle.

Johannes Brahms an uncompromising perfectionist was one of the leading composers of his time. His popularity and influence were considerable and his music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. Johannes Brahms: Violin Sonatas (Complete) contains expertly arranged sheet music for Violin and Piano. Including Violin Sonatas Op.78 100 and 108.

Sonatas for Piano and Violin-Johannes Brahms s?int?ressa tr?s t?t au genre de la sonate pour violon. ? l?automne 1853 il proposa ? un ?diteur de Leipzig une sonate pour violon en la mineur. L??uvre ayant ?t? refu-s?e il semble que le compositeur tr?s critique envers lui-m?me l?ait ensuite d?truite de ses propres mains. Ses trois grandes sonates datent de sa maturit? l?op. 78 des ?t?s 1878 et 79 les opus 100 et 108 de l??t? 1886. Le scherzo en ut mineur constitue la contribution de Brahms ? la sonate pour violon ?crite conjointement avec Robert Schumann et Albert Dietrich en 1853 en guise de cadeau surprise pour le violoniste Joseph Joachim. Elle est connue sous le nom de sonate F-A-E(fa-la-mi). Avec ses contrastes marqu?s entre l?Allegro v?h?ment et le Pi? moderato d?une grande sensibilit? ce mouvement de scherzo constitue un morceau de bravoure tr?s appr?ci?.

Brahms' Sonata in G for Violin and Piano with a foreword by Wolfgang Sandberger.