Par VIVALDI ANTONIO. Concerto G Minor/ Répertoire / 2 Violons, Violoncelle et Orchestre

11 morceaux préférés de Rachmaninoff, tirées de la symphonies, des concertos, des préludes et des chansons, habilement simplifié et arrangé pour violon et piano (avec accompagnement CD) par Hywel Davies.Piano parties à ces pièces sont disponibles sur l'accompagnement CD/CD-CD-ROM comme fichiers PDF de haute qualité. / Violon Et Piano

9 Pieces by 9 Composers-This volume in Schirmer's Library Of Musical Classics contains 9 Baroque pieces by 9 composers in arrangements for Violin with Piano accompaniment. Pieces include: J. S. Bach: Concerto In A Minor BWV1041 Arcangelo Corelli: Sonata In D Minor 'La Folia' Op.5 No.12 George Frideric Handel: Sonata In D Major HWV 371 Jean-Marie Leclair: Sonata In D Major Op.9 No.3 PietroNardini: Concerto In E Minor Georg Philipp Telemann: Sonatina In A Major Giovanni Battista Viotti: Concerto In G Major Tommaso Vitali: Ciaccona In G MinorAntonio Vivaldi: Concerto In E Major 'Spring' RV269

The revised edition for Suzuki Violin School Volume 5 is now available. Like the other revised Violin books the music has been edited by the International Violin Committee. Other features include: New engravings in a more easily readable 9 x 12 format. New editing of pieces including bowings and fingerings. Available together with a newly recorded CD. CD recorded by William Preucil Concertmaster of the Cleveland Orchestra. Piano accompaniments recorded by Linda Perry. Titles: Gavotte (J. S. Bach) Concerto in A Minor 2nd Movement Op. 3 No. 6 (A. Vivaldi) Concerto in G Minor (A. Vivaldi) Country Dance (C. M. von Weber) German Dance (K. D. von Dittersdorf) Gigue (F. M. Veracini) Concerto for Two Violins in D Minor BWV 1043 1st Movement Violin I (J. S. Bach). This title is available in SmartMusic.

Paul Paradise has selected eight of Arcangelo Corelli's twelve Concerti Grossi and combined the concertino parts with the concerto grosso parts, edited the bowings, and added fingerings. Now these masterful works are playable by string orchestra or string quartet. The Concerto Grossi included are: No. 4 in D Major * No. 7 in D Major * No. 10 in C Major * No. 11 in B-flat Major * No. 12 in in F Major * No. 3 in C Minor * No. 8 in G Minor (Christmas) * No. 2 in F Major.

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.

Par . Cette nouvelle publication de la collection Schirmer?s Giant Book Series regroupe 31 pièces incontournables du répertoire classique pour violon, issues de quinze compositeurs différents. Le recueil offre plus de 250 pages pour étoffer la librairie musicale de chaque violoniste à un excellent rapport qualité-prix. Adapté aux musiciens de niveau intermédiaire à avancé, ce volume comprend également une partie séparée pour l'accompagnement au piano. / Date parution : 2023-03-11/ Répertoire / Violon et Piano

Teach violin with the popular Suzuki Violin School. The Suzuki Method® of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book

Titles: Minuet from String Quartet, K. 421 (W.A. Mozart) * Courante from Concerto Grosso 9, Op. VI, Amsterdam 1714 (A. Corelli) * Sonata No. 1, Sonata in A Major, ChA 27, Op. 1, No. 3, HHA IV/4, No. 1-EZ (Andante, Allegro, Adagio, Allegro) (G.F. Handel) * Concerto No. 1 in A Minor, BWV 1041 (Allegro moderato, Andante, Allegro assai) (J.S. Bach) * Gigue from Suite I in G Major for Violoncello, BWV 1007 (J.S. Bach) * Courante from Suite I in G Major for Violoncello, BWV 1007 (J.S. Bach) * Allegro, Sonata I for Violin, Op. V, Rom. 1700 (A. Corelli).