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I
VIOLIN - FIDDLE
Violin and Piano
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2 Cellos (duet) (41)
Saxophone and Piano (40)
Children choir, Piano (39)
Soprano voice, Orchestra (38)
Descant (Soprano) Recorder (35)
2 Guitars (duet) (35)
Cello, Orchestra (35)
2 Trumpets (duet) (34)
Bassoon, Piano (duet) (34)
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Conducteur (33)
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Violin, Cello (duet) (32)
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Saxophone Ténor et Piano (30)
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Violin, Basso continuo (23)
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Quatuor (21)
Baritone voice (21)
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2 Trombones (duet) (20)
Diverses Formations (20)
Flute, Cello, Piano (trio) (20)
Tuba (19)
2, 3 ou 4 Violons (19)
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Euphonium en Clé de Fa Do ou … (18)
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Pennywhistle (18)
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Solistes SATB, Choeur SATB, 2 … (18)
Guitar Tab, Voice, Bass, Drum (18)
Ensemble (18)
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Symphonic Band (17)
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Flute ensemble (16)
Clarinet Quartet: 4 clarinets (16)
Flûte Traversière, Clarinett… (16)
Ensemble Mixte (16)
Petit Choeur SATB/SATB, Contre… (16)
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Quintette à vent (16)
Violon I (16)
Double bass, Piano (duet) (16)
4 Voix (SATB) (15)
Tuba en Do et Piano (15)
Solistes STB, Choeur SATB, 3 C… (15)
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Musical Awakening (15)
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Biography (15)
Marimba (15)
Trompette en Do ou et Trompett… (14)
2 Hautbois Et Orchestre (14)
Orchester (14)
Soli and Orchestra (14)
DVD concert (14)
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Flute, Basso continuo (14)
Flexible Instrumentation (14)
String Quintet: 2 violins, vio… (14)
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Guitare et Musique de Chambre (13)
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Percussion Ensemble (13)
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4 Euphoniums (12)
Soli (SATB), Choeur Mixte (SAT… (12)
:: (12)
Trombone or Euphonium (12)
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3 Euphoniums et Piano ou Clavi… (12)
4 Guitars (Quartet) (12)
2 Euphoniums et Piano ou Orgue… (12)
Violin, Guitar (duet) (12)
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Percussions (10)
Organ, Piano (duet) (10)
Tenor Saxophone and Piano (10)
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Guitare et Voix (10)
Partition de Poche (10)
Voix Mixtes (10)
Flute, Clarinet (duet) (10)
Lyrics only (10)
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Solo Instrument (Violon I, Vio… (9)
Solistes SATB, Choeur SATB, Ha… (9)
Woodwind Quintet (9)
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Baryton ou Tuba Basse Continue… (9)
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Trio (9)
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Voix et Orchestre (9)
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Scores (9)
Book (9)
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5 Part Ensemble (9)
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DVD (7)
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Flute Trio: 3 flutes (7)
Harpsychord (6)
Double Choeur Mixte, Soprano e… (6)
Flute, Viola and harp (6)
Euphonium ou Saxhorn Solo (6)
Choeur Mixte (SATB), Soli Et O… (6)
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Basse, Choeur Mixte (SATB) Et … (6)
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2 Bassons et Piano ou Orgue (6)
Parties Supplémentaires (6)
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2 Flutes, Piano (6)
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Edition Complète (6)
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2 Sopranos, Choeur Mixte (SATB… (6)
Piano/Vocal/Guitare (PVG) (6)
Lyrics & Chords (6)
Voix Haute (6)
Trombone (band part) (6)
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3 Clarinets (trio) (6)
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Octuor A Vent (6)
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Descant (Soprano) Recorder, Ba… (6)
2 Clarinets, Piano (6)
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Mandoline et Orchestre (Mandol… (5)
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Balalaika (5)
Choeur SATB, 2 Hautbois, 2 Cla… (5)
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2 Trumpets, Horn, Trombone an… (5)
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Bagpipe (5)
Choeur SS (SA), 2 Violons et B… (5)
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Cuivres (4) (5)
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Petit Ensemble Contemporain (5)
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Choeur d'Enfants à 1 Partie, … (5)
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Trompette Sib 1 Cor en Fa 1 Tr… (4)
Trumpet, Horn and Piano (4)
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Duo d'Instruments à Cordes (4)
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Pop music (4)
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Orchestre de Chambre Spatialis… (4)
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Quintette à vent et Percussio… (4)
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2 Violons, Alto et Basse (4)
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Flûte à Bec Alto, 2 Flûtes … (4)
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Flûte à Bec (Alto ou Soprano… (4)
Flûte Traversière, Alto et H… (4)
Contrebasse, Orchestre à Cord… (4)
3 Saxophones (Alto, Ténor) et… (4)
Violon, Clarinette (Alto) et O… (4)
Viola, Organ (4)
4 Clarinettes et Piano ou Orgu… (4)
Choeur Mixte et Orchestre (4)
Flûte à Bec Alto et Basse Co… (4)
Trombone, Organ (4)
5 Voix (SSATB), 2 Violons et B… (4)
Saxophone Alto Solo (4)
Flûte Traversière I (Aussi A… (4)
Flûte Traversière Violon et … (4)
Double Quintette de Bois et Co… (4)
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Trompette Solo (4)
Saxophone Baryton (4)
Nursery rhyme (4)
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Mozart W.a. - Sonatas For Piano And Violin, Volume I
Violin and Piano
G. Henle
Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Violin and Piano Editeu...
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Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Violin and Piano Editeur Musicologique : Seiffert, Wolf-Dieter Couverture Reliée Contenu : Kurfürstin Sonata G major op. I / K. 301 (293a) Kurfürstin Sonata E flat major op. I / K. 302 (293b) Kurfürstin Sonata C major op. I / K. 303 (293c) Kurfürstin Sonata e minor op. I / K. 304 (300c) Kurfürstin Sonata A major op. I / K. 305 (293d) Kurfürstin Sonata D major op. I / K. 306 (300l)
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Stephen Sondheim: Sondheim for Classical Players: Violin and Accomp.: Artist
Violin and Piano
[Sheet music + Audio access]
Hal Leonard
Violin and Piano with Online Accompaniments. This collection features intermedia...
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Violin and Piano with Online Accompaniments. This collection features intermediate-level arrangements for violin and piano accompaniment in a range flattering to the violin. The music has been edited with added dynamics, articulations and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano. Includes separate pull-out solo part. Songs include: Agony · Anyone Can Whistle · The Ballad of Sweeney Todd · Children Will Listen · Green Finch and Linnet Bird · Johanna · Night Waltz · Not While I'm Around · Pretty Women · Send in the Clowns · Sunday · With So Little to Be Sure Of. The price of this book includes a unique code that provides access to audio tracks online, for download or streaming. The tracks 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 - available exclusively from Hal Leonard.
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Sonatas for Pianoforte and Violin Volume I and Volume II (BEETHOVEN LUDWIG VAN)
Violin and Piano
[Sheet music]
Barenreiter
Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are no...
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Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano
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Works For Piano And Violin (MOZART WOLFGANG AMADEUS)
Violin and Piano
G. Henle
Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est ado...
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Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano
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Claude Debussy: Minstrels From Préludes I For Violin And Piano: Violin: Score
Violin and Piano
G. Henle
Aus Preludes I für Violine und Klavier-The first volume of Debussy?s Préludes ...
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Aus Preludes I für Violine und Klavier-The first volume of Debussy?s Préludes for Piano (HN 383) was published in 1910 and was soon followed by arrangements for various scorings commissioned by the original publisher. Debussy personally transcribedonly one Prélude Minstrels which was released in 1914 in a version for Violin and Piano.Back at that time ?Minstrels? was the name given to comedians who performed in blackface andcaricatured the alleged behaviour of Blacks in America. The arrangement is of interest not only to pianists since Debussy intervened in the original musical text by adding variants but also to violinists who willdiscover charming and rewarding music of medium difficulty (5 of 9).
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Ludwig van Beethoven: Works For Piano And Violin Volume I: Violin: Score
Violin and Piano
G. Henle
Works For Piano And Violin Volume I
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Ludwig van Beethoven: Works For Piano And Violin Volume I: Violin: Score
Violin and Piano
G. Henle
Works For Piano And Violin Volume I
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Arcangelo Corelli: Sonate Op.V Volume I for Violin and Continuo: Violin:
Italiano
Violin and Piano
Carisch
Sonate Op.V Volume I for Violin and Continuo
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Unterhaltungs-konzert Band 2 - Violin And Piano
Violin and Piano
Schott
Große Erfolge Instrument : violin and piano Nombre de Pages : 80 Content : I...
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Große Erfolge Instrument : violin and piano Nombre de Pages : 80 Content : I. Albéniz: Tango in D - O. de la Cinna: Spanische Serenade - E. Elgar: Salut d'amour - P. Fahrbach: Im Kahlenberger Dörfel - E. Grieg: Solvejgs Lied aus Peer Gynt - E. Humperdinck: Abendsegen aus Hänsel und Gretel - K. Komzák: Volkslied und Märchen - K. Noack: Heinzelmännchens Wachtparade - J. Offenbach: Ausgelassne Fröhlichkeit, Marsch und Cancan aus Die schöne Helena - J. Rixner: Spanischer Marsch - A. Rubinstein: Melodie in F - Joh. Strauß: Leichtes Blut, Schnellpolka - Joh. Strauß: Liebeslieder, Walzer - G. Verdi: Freiheits-Chor der Gefangenen aus Nabucco
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Making The Grade Violin Grade 1 Cd
Violin and Piano
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Beginner
Chester
Cette collection de 21 mélodies populaires a été soigneusement arrangée et c...
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Cette collection de 21 mélodies populaires a été soigneusement arrangée et classée d'enseignement attrayant répertoire pour jeunes violonistes. La familiarité de la matière va stimuler l'enthousiasme des élèves et d'encourager leur pratique. Les exigences techniques de la partie solo augmenter progressivement à la norme du Grade de Conseil associé I. Les accompagnements piano sont simples mais efficace et devrait être dans la gamme de la plupart des pianistes. Jerry Lanning est diplômé de la Guildhall School of Music and Drama. Il est un arrangeur largement expérimenté dans les domaines tant populaires et classiques, avec de nombreux arrangements publiés à son crédit. Il enseigne également (principalement le piano) à l'école de l'abbaye de Wycombe et Bradfield College. / Violon
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Summer Sonata
Violin and Piano
Schott
I wrote the first movement of my Sommersonate in the summer of 2010, and though ...
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I wrote the first movement of my Sommersonate in the summer of 2010, and though a self-contained work, it called out for continuation or a companion piece. I imagine the first movement, marked moderato, to be bright, free, weightless, transparent, flooded in sunlight. In contrast, the newly composed second movement is nocturnal and cryptic, with a restrained glow. A Romance, a (summer) night piece. Jörg Widmann / Violon Et Piano
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Scott Joplin: 6 Ragtimes Für Violine und Klavier - Band I: Violin & Piano:
Violin and Piano
Kunzelmann
6 Ragtimes Für Violine und Klavier - Band I
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Margit Lanyi Tiborne Lenkei: Kleine Konzertstücke I: Violin & Piano:
Violin and Piano
EMB (Editio Musica Budapest)
Kleine Konzertstücke I
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Suite From West Side Story
Violin and Piano
Boosey and Hawkes
Cette suite pour élaborée de concert préparatifs de violon et piano caractér...
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Cette suite pour élaborée de concert préparatifs de violon et piano caractéristiques Raimundo Penaforte joueurs avancés de ' I feel pretty ', ' Somewhere ' et ' America '. / Violon Et Piano
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Conc. Per Vl., Archi E B.C.: In Re Min. Op. VIii N.7 - Rv 242 - F.I/28 (VIVALDI ANTONIO)
Violin and Piano
[Sheet music]
Ricordi
RV 242 - Op.Viii N.7, F.I-28 Tomo 82 - Riduzione Per Violino E Pianoforte. Par V...
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RV 242 - Op.Viii N.7, F.I-28 Tomo 82 - Riduzione Per Violino E Pianoforte. Par VIVALDI ANTONIO. / Répertoire / Violon et Piano
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Vivaldi A. - Concerto In La Min. Rv 523 F.i/61 - Violon Et Piano
Violin and Piano
Ricordi
Musical Category : 2 violini e pianoforte f.i/61 - tomo 140 - riduzione per due...
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Musical Category : 2 violini e pianoforte f.i/61 - tomo 140 - riduzione per due violini e pianoforte
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Fughe E Capricci Pel' Clavicembalo O Per L'Organo - Opera Primera - 1777
Violin and Piano
Anne Fuzeau Productions
Edition : Berlin, (s.d. = 1777)Ces fugues et caprices sont conçus pour le clavi...
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Edition : Berlin, (s.d. = 1777)Ces fugues et caprices sont conçus pour le clavier : orgue, clavecin, clavicorde.Présentation de Philippe Lescat : I. Edition - II. Eléments d'interprétation. / Clavecin Et Orgue / 41 pages / niveau : 1 / Fac-Similés - Format: 24 X 33
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Nigel Goldberg: Concertinio No1 In A Minor: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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Easy
Spartan Press
The violin pupil can be accompanied either by the violin teacher (as a violin du...
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The violin pupil can be accompanied either by the violin teacher (as a violin duet) or with piano. The optional alternative piano accompaniments are by Heidi Rolfe.'I can still remember the thrill I felt as a child of 8 when my violin teacher introduced me to my first concertino. Learning playing and eventually mastering the famous Küchler Concertino in D major made me feel privileged and grown-up as if I were joining a very special club.That was a long time ago yet for me concertinos still hold a distinctive place in the teaching repertoire. Having now taught the violin for the last thirty years and seen how happily my pupils respond to learningduets - that distinctive sense of enjoyment at playing with an adult the improvement of intonation and tone production the liveliness of the lesson - I have composed three new concertinos inspired by the duet form.Taking three great keys for the violin - G D and A minor I have endeavoured to combine emotionally engaging and technically educational music in the 'Olden Style'. Uniquely I have written a second violin part for the teacher to play alongside their pupil's part and there is also a piano accompaniment for use alternatively in concert settings.I very much hope that these concertinos prove as popular and as helpful as the series of duets in my previously published books Sounds of a Rainbow and that they ignite that sense of wonderment and purpose I experienced while playing the Kuchler all those years ago.'Nigel Goldberg
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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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Nigel Goldberg: Sounds Of A Rainbow Vol.3: Violin: Instrumental Album
Violin and Piano
[Score and Parts]
Spartan Press
Grade 3-4-A series available as violin duets or violin & piano.Whether a student...
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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.
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Sonata (GASIENIEC MIROSLAW)
Violin and Piano
[Sheet music]
PWM (Polskie Wydawnictwo Muzyczne)
Par GASIENIEC MIROSLAW. The first version of the Sonata for violin and piano was...
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Par GASIENIEC MIROSLAW. The first version of the Sonata for violin and piano was written in the autumn of 2008, when I had the opportunity to work with the violinist Robert Bachara, who was pursuing his doctoral studies at Wroclaw Music Academy. A few years later, around the turn of 2016, I revised the musical material, made some changes and shortened the work. It was then that Dr Jacek Ropski, a lecturer at the music academy, took an interest in the Sonata. In January 2016 we produced a recording of this composition, which helped with his post-doctoral studies. I would like to express my profound gratitude to Dr Jacek Ropski for his invaluable musical and performance remarks, which led to the present form of the Sonata for violin and piano. I am also grateful to Professor Bartosz Bryla of Poznan Music Academy for his very favourable review of this composition and warm words of support for its publication. I also hope that this work will find a place among young performers. Miroslaw Gasieniec translated by John Comber / Date parution : 2022-11-08/ Répertoire / Violon et Piano
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Oscar Rieding: Concerto in B Minor Op. 35 for Violin and Piano: Violin:
Violin and Piano
G. Henle
The name Oskar Rieding may seldom appear in concert programmes but for students...
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The name Oskar Rieding may seldom appear in concert programmes but for students of the violin it is all the more familiar. To this day his short concert pieces for violin and piano written at the start of the twentieth century especially for beginners on the instrument have maintained their place in lessons and class recitals. Restricted to the first position the b-minor Concerto op. 35 is ideal for beginners. For this Urtext edition based on the first printing editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.The name Oskar Rieding may seldom appear in concert programmes but for students of the violin it is all the more familiar. To this day his short concert pieces for violin and piano written at the start of the twentieth century especially for beginners on the instrument have maintained their place in lessons and class recitals. Restricted to the first position the b-minor Concerto op. 35 is ideal for beginners. For this Urtext edition based on the first printing editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.
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