SKU: HL.49047090
ISBN 9783795726966. UPC: 196288120612. 9.0x12.0x0.195 inches.
25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, forviolin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9.This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. The approach to the pieces is made easier by the accompanying audio tracks which, on the one hand, offers the opportunity to listen to and get to know the pieces beforehand, and, on the other hand, thanks to the separate piano accompaniments, provides first experience in ensemble playing and conveys the vivid joy of music-making. When the tracks were recorded by Prof. Benjamin Bergmann, violin, and Leonid Dorfman, piano, they deliberately decided in favour of moderate tempos to make it easier for the young violinists to play along with the piano part. A treasure trove for auditions at schools and music schools.
SKU: HL.49018957
ISBN 9783795759568. UPC: 196288125617. 9.0x12.0x0.194 inches. Andreas Schuermann.
25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music.The approach to the pieces is made easier by the accompanying CD which, on the one hand, offers the opportunity to listen to and get to know the pieces beforehand, and, on the other hand, thanks to the separate piano accompaniments, provides first experience in ensemble playing and conveys the vivid joy of music-making.When the CD was recorded by Prof. Benjamin Bergmann, violin, and Leonid Dorfman, piano, they deliberately decided in favour of moderate tempos to make it easier for the young violinists to play along with the piano part. A treasure trove for auditions at schools and music schools.
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-edition.com.
SKU: HL.51481164
UPC: 196288215875. 9.25x12.0x0.7 inches.
Grieg's violin sonatas are a firm staple of violin repertoire and are popular with amateurs and professionals alike. G. Henle Publishers takes this into account with a practical single-volume edition of the three sonatas. Thus, you are simply spoilt for choice as to whether you prefer the youthful zest of the first, the Nordic-folkloristic charm of the second or the mature drama of the third sonata. The opulent volume is rounded off by a small piece that is ideal as an encore: a march from Grieg's incidental music to Sigurd Jorsalfar, which the composer himself arranged for violin and piano. Therefore, this Henle Urtext edition actually offers GriegÂs complete oeuvre for this instrumentation â a âmust-haveâ for all fans of the great Nordic melodist.
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SKU: HL.48180833
UPC: 888680857158. 9.0x12.0x0.02 inches.
Parisian violinist Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. J. S. Bach's Menuet and Gigue is clearly printed with all edited and necessary performance directions. J.S. Bach (1685-1750) is one of the greatest composers of all time. His compositions for the violin were significant, most of which remain popular today in the advanced violinist's repertoire. The violin solo line of Menuet and Gigue makes use of harmonics, bow techniques, aritculations, fast semiquavers, and ornamentation. Catherine's series, Violin Classics provides essential access to significant repertoire of the violin, preparing advanced violinists for the major works of the repertoire.
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
SKU: HL.51481275
UPC: 888680991661. 9.25x12.25x0.157 inches.
“Memory of a dear place†is the title given to this collection of three enchanting pieces for violin and piano. The “place†in question was the country estate of Brailov that belonged to Tchaikovsky's patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky's matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d'un lieu cher was only added after Tchaikovsky's death.
SKU: FG.55011-785-3
ISBN 9790550117853.
Fennica Gehrman the music publisher pays tribute to its composers with this 20th-anniversary collection of commissions for violin and piano. Stringendo - Contemporary works for violin and piano (2022) is a collection of ten pieces, which vary greatly as regards their genesis. That by Harri Wessman is playful and exhilarating; Mikko Heiniö wrote his on Women's Day, while the duets by Kalevi Aho and Matthew Whittall are tributes to the late Jaakko Kuusisto. Einojuhani Rautavaara is also represented, in an arrangement for violin and piano of his plaintive, melodic Sydämeni laulu (The Song of my Heart). The title of Lotta Wennäkoski's work, Vestige, is a fitting symbol for the whole collection.Short introductions to the pieces by their composers are included in the collection in English, Finnish, and Swedish.ContentsKalevi Aho (b. 1949): Le Tombeau de J. K.Einojuhani Rautavaara (1928-2016): Sydämeni laulu - Song of my heartMikko Heiniö (b.1948): Naisten päivä - Women's DayJyrki Linjama (b. 1962): De Profundis ILotta Wennäkoski (b. 1970): VestigeMatthew Whittall (b.1975): Waiting to hearOlli Kortekangas (b. 1955): CapricciettoHarri Wessman (b.1949): GiocosoVeli-Matti Puumala (b. 1965): Édera IVKimmo Hakola (b.1958): A Double Jubilee.
SKU: FG.55011-754-9
ISBN 9790550117549.
Yrjö Kilpinen (1892-1959) is most known for his hundreds of lieds and song cycles. His instrumental compositions have been less know, ie. the six piano sonatas and suite for gamba and piano. Large-scale Sonata for violin and piano is dated in 1935 with opus number 87. The work was never finished, and National Library in Helsinki holds several sketches and versions in its Kilpinen collection. In 2015 violinist Frida Backman commissioned a completion of the Sonata from composer Walter Wolff. Wolff worked on the sketches and versions until 2018, when the work was completed and the Sonata premiered. The present publication is the first publication of the Sonata. It sheds light to Kilpinen as an instrumental composer. The movements are: Allegro - Andante - Andante Moderato - Allegro --- Yrjö Kilpinen (1892-1959) tunnetaan lähinnä lied-sävellyksistään, joita aktiivisina sävellysvuosina syntyikin satoja. Vähemmälle huomiolle ovat jääneet hänen instrumentaalisävellyksensä, mm. kuusi pianosonaattia, sellosonaatti, sarja gamballe ja pianolle sekä muutamat pikkukappaleet. Vuodelle 1935 päivätty neliosainen, laajamuotoinen sonaatti viululle ja pianolle (op. 87) jäi keskeneräiseksi. Suomen Kansalliskirjaston Kilpinen-kokoelmassa oli useita luonnoksia ja eri versioita. Sonaatin osista neljäs oli keskeneräisin. Viulutaiteilija Frida Backman tilasi konserttiaan varten sonaatin täydennöksen säveltäjä Walter Wolffilta. Hän sai työnsä päätöksen 2018, jonka jälkeen sonaatti kantaesitettiin. Fennica Gehrmanin julkaisu on sonaatin ensipainos, ja siten laajentaa kuvaamme Yrjö Kilpisestä instrumenttiteosten säveltäjänä. Teoksen osat: Allegro - Andante - Andante Moderato - Allegro.
SKU: DY.DO-1525
ISBN 9782897963057.
J'aime les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.Une note sur les performances :Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjRhttps://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953Envoyer des commentairesTransfigured Life - Still Life, Op. 165 (violin and piano) - David BraidI am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved and developed. In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.A note on performance: Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjRhttps://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953.
SKU: HL.48180635
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Viotti's Concerto No. 23 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian violin virtuoso. He composed a significant 29 concertos for the violin which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 23 makes use of extended techniques including harmonics, bow techniques, aritculations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HL.48180634
UPC: 888680829070. 0.031 inches.
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Viotti's Concerto No. 22 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian violin virtuoso. He composed a significant 29 concertos for the violin which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 22 makes use of extended techniques, including harmonics, bow techniques, articulations, fast semiquavers, and double stops. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HL.48180636
UPC: 888680829056. 9x12 inches.
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the Violin repertoire. The first solo from Viotti's Concerto No. 24 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian violin virtuoso. He composed a significant 29 concertos for the violin which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 24 makes use of extended techniques, including harmonics, bow techniques, articulations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: BO.B.3673
It is a work for violin and piano inspired directly by Paganini's Capriccio No. 13, known as La risata del diavolo and one of the most renowned capriccios from the series of twenty-four composed by the celebrated Genovese violinist and composer. In my version for violin and piano, I have singled out the two essential features of the work: the third notes on a double string that emulate the devil's laughter, and the quick eighth notes that follow, all of it within a light and humorous chromaticism.Il diavolo begins with a slow and fragmented but suggestive violin cadenza. It then follows the Allegro deciso, built on the two features mentioned above. In the central part, yet another violin cadenza of a similar character but which recalls the devil's laughter more evidently. The Allegro deciso goes on up to a carefree and virtuosic finale.The work is dedicated to violinist Jesus Reina.
SKU: PR.144407050
UPC: 680160655519. 9 x 12 inches.
Celebrating 30 years, the Philadelphia Chamber Music Society commissioned a work of 20-25 minutes for violin and piano from James Primosch, University of Pennsylvania professor of music. Primosch had originally thought to create a new sonata, but what developed is more appropriately a set of five character pieces, two of which were directly inspired by poems. Five Poems was premiered in May, 2016, and Primosch's thoughts are recorded at his website: https://jamesprimosch.com/2016/05/10/five-poems-premiere/.Upon receiving a commission from the Philadelphia Chamber MusicSociety for a violin and piano piece in honor of its 30th anniversary, myplan was to write a sonata, a term suggesting a relatively abstractdiscourse. But as the piece developed, the movements struck me ascharacter pieces rather than music employing a more “symphonicâ€approach. When specific poems started to attach themselves in my mindwith two of the movements, the overall title Five Poems became clear.The title of the second movement is a line from Susan Stewart’s“Descentâ€, which deals with Aeneas’s visit to the underworld. The musicis alternately fiercely driving and quite still, though tense. RobertFrost’s Nothing Gold Can Stay summons fleet scale passages framinglyrical counterpoint. The remaining movements do not refer to specificpoems, but have titles reflecting their expressive tone. Dreamscape ismusing with an improvisatory violin line over shifting pairs of pianochords. Nightsong is a bluesy lullaby that turns highly dramatic.Vision begins with a closely argued struggle but breaks through tosomething spacious and clear.
SKU: HL.49045822
ISBN 9781540024749. UPC: 888680737764. 9.25x12.0x0.29 inches.
The Kreutzer Sonata was originally dedicated not to Rudolphe Kreutzer (who never performed it) but to George Bridgetower, a famed 18th-century Afro-European concert violinist. In an early draft, Beethoven jokingly labeled the piece in starkly racialized terms: Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.Beethoven and Bridgetower performed the premiere, which was by all accounts a success, and even featuring some improvised embellishment by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower's insult of a female acquaintance; the composer then revoked the original dedication, adding Kreutzer's name instead. The work gained acclaim, while Bridgetower's career languished; he eventually died in poverty.Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove's book, Sonata Mulattica. From our 21st-century vantage, considering Bridgetower's unique circumstance, we can only see him as an ambiguous figure who, in embodying difference, provoked inspiration, fantasy, desire, anger and, finally, erasure.My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting fragments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny Koh and Shai Wosner for involving me in their beautiful, virtuosic music-making.
SKU: AP.12-0571541887
ISBN 9780571541881. English.
Thomas Adès's Violin Concerto Concentric Paths, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti's. Cast in three contrasting movements?each linked by a preoccupation with circling musical figures? the concerto, subtitled Concentric Paths now occupies a place in standard repertoire. Two lithe, rhythmically driven movements, Rings and Rounds bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. This is the violin part and piano reduction. In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space. The Guardian (Tom Service).
SKU: HL.48180707
UPC: 888680831691. 0.025 inches.
Parisian violinist Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Bériot's Concerto No. 7 is clearly printed with a helpful key of unusual techniques. Charles Auguste de Bériot (1802-1870) was a Belgian violinist and composer. He composed a significant 10 concertos for the violin which remain popular in the advanced violinist's repertoire, as well as many study books for the instrument. The violin solo line of Concerto No. 7 makes use of extended techniques, including harmonics, bow techniques, aritculations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HL.48180708
Parisian violinist Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Beriot's Concerto No. 9 is clearly printed with a helpful key of unusual techniques. Charles Auguste de Beriot (1802-1870) was a Belgian violinist and composer. He composed a significant 10 concertos for the violin which remain popular in the advanced violinist's repertoire, as well as many study books for the instrument. The violin solo line of Concerto No. 9 makes use of extended techniques, including harmonics, bow techniques, articulations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HL.48180989
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Vieuxtemp's Concerto No. 5 is clearly printed with a helpful key of unusual techniques. Vieuxtemp (1820-1881) was an Belgian composer and violinist. He composed a significant amount of string music, particularly for the violin, which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 5 makes use of extended techniques, including harmonics, bow techniques, aritculations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HL.48180637
UPC: 888680829049. 9x12 inches.
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Viotti's Concerto No. 29 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian violin virtuoso. He composed a significant 29 concertos for the violin which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 29 makes use of extended techniques, including harmonics, bow techniques, aritculations, fast semiquavers, and double stops. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: HH.HH424-FSP
ISBN 9790708146254.
Among Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.35, his last of seven sonatas with violin, was composed around 1805 and dedicated to Maria Walburga, the Princess Bretzenheim. This was one Eberl’s last works, as he died prematurely, at the age of forty-one, in 1807. Unlike many of Eberl’s lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op.35 shares much of the musical ambition and quality of Beethoven’s works in this genre.
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