100 Hymns for Violin and Guitar is a collection of all-time favorite hymns arranged for violin solo with suggested written chordal accompaniment. Fingerstyle guitar and strum styles are indicated on each solo. Other chordal instrumentalists can also use the written material. The repertoire spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year./ Recueil / Violon et Guitare

Par FINE ELAINE. Although the practice of scales is essential to building and maintaining strength, technique, tone, and agility?it is very easy to slip into the habit of playing them automatically, without paying attention to how they sound or even being aware of what scale we are playing. The 29 single-page studies in this book are designed to combat that tendency as they are musically, intellectually, and rhythmically challenging.The first 24 studies proceeded through the circle of fifths and address all minor and relative major keys; the last 5 pieces were individually conceived, i.e., apart from the circle of fifths. Occasional fingerings or position guides are suggested but these are largely left to the student or their teachers. No metronome indications are given so that the etudes can be played at individually comfortable tempos?with or without a metronome, or freely as concert etudes. It is the stepwise motion and octave leaps of the etudes that makes the intervals between pitches easy to hear, even in keys with numerous flats or sharps.Just as in Elaine Fine?s more basic scale etude book, Violin Scale Tales, the names of the etudes herein refer to various animals that have scales, including insects, fish, birds, reptiles, a few species of squirrels with scales on their tails, and the solitary pangolin, the only known mammal whose entire body is covered with scales. Again, the author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures, or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

Par FINE ELAINE. The etudes in this book offer students a musically and intellectually satisfying means of practicing scales in all major and minor keys, even while remaining in first position. Although presented in the traditional order of the circle of fifths, this is where similarities to other violin scale-oriented books end.Of course, the etudes can be played using a mixture of positions by more advanced students. The studies also resonate very well on the viola if played at pitch. These are instructive etudes and can be played as appealing solo pieces. The stepwise motion in the etudes makes intervals between pitches easy to hear, even in keys with many flats or sharps.Both the book and etude titles refer to names of animals that have scales, so you will see natural and harmonic minor scales named after various moths, and major scales named for unusual reptiles, birds, and mammals throughout. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing animals or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

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

for Violin & Piano-Progressive pieces for beginners - grade 2. Original compositions by Robert Trory with piano accompaniments by Sally Mays.This volume was devised by my husband Robert Trory and replaces his First Book of Concert pieces and his Second Book of Concert Pieces. As well as using material from these books he arranged a further 4 pieces from his VIOLIN PLAYING books 1 and 2 and composed another seven original pieces to complete this collection all with piano parts expertly written by Sally Mays.The graded pieces presented here are intended to provide performance experience for the student. The pieces incorporate different styles and genres and it is hoped thatthey will enhance concerts for both performer and listener.Those arrangements of compositions first published as violin duets in VIOLIN PLAYING books one and two presented here for violin and piano incorporate small differences in the violin parts. Robert Trory's work of assembling this book was interrupted in the spring of 2013 when illness made it impossible for him to proceed. His fight to overcome a brain tumour was sadly lost in August 2013. However he had asked me to oversee the production of 'CONCERT COLLECTION' and this I do on his behalf.The task would have been impossible for me without the very great help and guidance of Mark Goddard of Spartan Press. He has expended his time and expertise on the project as well as giving me great encouragement and for this I extend to him my heartfelt thanks. Sincere thanks also go to Sally Mays for her painstaking proof reading and for writing such beautiful and imaginative piano accompaniments. Nina Trory 2014

Livre 3 de cette méthode introduit en troisième position et de nouvelles tonalités majeures et mineures, en plus d'extensions quatrième doigt et la position de la moitié. Le travail en troisième position est lente et minutieuse il ya donc de nombreux exercices, avec l'abondance de solos et de duos mélodieuse. Ceux-ci devraient maintenir l'intérêt tout des difficultés techniques sont surmontées. / Violon / niveau : Intermédiaire / Partition

Par ADOLPHE BRUCE. This work was commissioned by violinist Solomiya Ivakhiv to celebrate and commemorate the life of her namesake, Solomiya Krushelnytska. A Ukranian soprano, Krushelnyts (1872-1952) left home at the age of 21 to study voice in Italy, where she became a very successful opera performer and close friends with Puccini. She is often credited with saving Madama Butterfly from obscurity by taking on the role after a failed premiere with a different cast. Visiting her family one summer, she was suddently trapped as Ukraine was absorbed by the Soviet Union and all borders were closed. Realizing that she would never be able to return to Italy to resume her solo career, she joined the faculty of the Lviv Conservatory, where she raised a generation of very fine singers. She died in poverty, never being able to access her savings or property in Italy, but she contributed to the growth of the Lviv Conservatory where Solomiya Ivakhiv studied. Krushelnyts became a well-known symbol of hope for young women in Ukraine, where much of the population knows her name, and many streets are named after her. / Date parution : 2022-06-14/ Répertoire / Violon et Piano

Par MENDONCA VASCO. 'Terrance Hayes? series of sonnets is an extraordinary collection of poems: his poetry captures the spiralling social and political chaos in America (and the world) in a way no newspaper article or scholarly essay has been able to; his words have the rare quality of clarifying a collective feeling that is messy and confusing, an elusive and disturbing combination of fear, hope, perhaps despair. I have never personally experienced (and probably never will) the reality Hayes writes about: the oppression, danger and ambiguity he reflects upon are alien to my own experience. But I nevertheless felt compelled to create something inspired by his words. To engage - how can you not engage? The first movement of ''A Box of Darkness with a Bird in its Heart'' is a hurtful ostinato with an uneven, organic pulse - not unlike the way we breathe under physical or emotional strain. The second is a quiet, delicate birdsong; its very high melody almost a secret that?s unwillingly shared - followed by an expressive lament. The ending in the low register brings me the image of a viola da gamba played outside in a warm summer night, a distant tale of violence and loss. In the final movement the energy picks up, in a relentless and unforgiving mechanism of pizzicati. This piece was written for the wonderful violinist Diana Tishchenko, and is dedicated to her. (Vasco Mendonça)' / Date parution : 2022-04-26/ Répertoire / Violon

Play-Alongs Bekannter Stücke Aus Irland Schottland Wales Dem Cornwall und Der Bretagne-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. ?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge of theindividual traditions in question and naturally he offers plenty of information on performance practice. The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.

From my life-In a letter of 12th April 1878 (i.e. when he had already lost his hearing) the composer declares that his design was to symbolize the course of his life in this quartet.1st Movement: Love of art in youth the unsatisfied longing for something inexpressible also a presentment of approaching mis-fortune.2nd Movement: Quasi Polka refers to a merry youth during which Smetana enjoyed dancing passionately and wrote dances with ease.3rd Movement: Largo sostenuto the felicity of his first love for the girl who later became his wife.4th Movement: Illustrates his perception of national music and the joy of success only to be suddenly broken by the extend E in the highestregister the fatal note that sounded in the composer's ear just before his deafness. Painful remembrances of the first stages of his career a fleeting ray of hope then ultimately resignation to inescapable fate.

Sonata no.2 in d minor op.121 for Violin and Piano-Schumann?s second violin sonata was written in October/November 1851 only a few weeks after the first work for this combination of instruments (HN 428). The highly virtuosic sonata especially in the finale is characterised bythe close thematic dovetailing of the single movements. Wilhelm Joseph von Wasielewski who later became the composer?s biographer reported that ?smiling in his kind-hearted manner? the composer had said to him: ?I did not likethe first violin sonata; so I then wrote a second one which is hopefully better.? Schumann was apparently referring to the great differences in the expressive content: Whereas the first sonata with three movements seems rathermelancholy and dark overall the second ?Great Sonata? with four movements is bursting with energy and ends in vibrant D major.

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers’ place of worship. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. It would take until the death of his maternal grandfather and the discovery of a collection of prayers set to music among his papers for the youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that it led to several adaptations and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a “Wailing Wall” Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note.

'Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet isdivided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played againimmediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes thesecond 6 minutes and the third 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’shistorical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music.The material for each of the three pieces is different although the harmonic and rhythmic worlds ofeach one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August2007.'Brian Elias

Octet in F major Op.post.166 D 803 for Clarinet (in B-flat) Bassoon Horn Violin (2) Viola Violincello Double Bass?I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things for I have composed two quartets for Violins Viola and Violincello [A minor D 804; D minor D 810] and an octet [F major D 803] and will write yet another quartet [not carried out]. Indeed in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] ...I too am inclined to give a similar concert next Year God willing.?ThusSchubert writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony by which he doubtless meant the genre as a whole rather than any specific work he wrote string quartets and a large-scale piece of chamber music for strings and winds taking Beethoven as his guide.Urtext of the New Schubert EditionParts (BA5617) and study score format 22.5 x 16.5cm (TP302) available for sale