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At The End Of The Day
VIBRAPHONE
Violin and Piano
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Sonata Movement For Violin And Piano C Minor Woo 2
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 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.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- 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 / Violon Et Piano
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Sonata For Violin And Piano A Major Op. 100
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 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.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- 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 / Violon Et Piano
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Sonata For Violin And Piano D Minor Op. 108
Violin and Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
(+)
The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 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.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- 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 / Violon Et Piano
17.60 EUR - Sold by LMI-partitions
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Les Misérables For Classical Players - With Online Accompaniments (Score And Solo Part)
Violin and Piano
[Sheet music + Audio access]
Hal Leonard
Violin and Piano with Online Accompaniments (Score and Solo Part). Par BOUBLIL A...
(+)
Violin and Piano with Online Accompaniments (Score and Solo Part). Par BOUBLIL ALAIN / SCHOENBERG CLAUDE-MICHEL. Retrouvez 12 chansons extraites de la fameuse comédie musicale, arrangées pour instrumentistes solistes avec les accompagnements de piano enregistrés par des professionnels, et disponibles en téléchargement ou streaming. Parmi la sélection : At the End of the Day · Bring Him Home · Castle on a Cloud · Do You Hear the People Sing? · Drink With Me (To Days Gone By) · Empty Chairs at Empty Tables · I Dreamed a Dream · A Little Fall of Rain · On My Own · Stars · The Thénardier Waltz of Treachery · Who Am I? Les pistes audio sont accessibles en ligne à l'aide du code unique qui se trouve à l'intérieur du livre et peuvent être écoutées en streaming ou téléchargées. Le fichier audio comprent PLAYBACK +, un lecteur audio multifonctionnel qui permet de ralentir l'audio sans changer le ton, de définir des points de boucle, de changer de tonalité et de régler la balance à gauche ou à droite./ Recueil / Violon et Piano
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A New Tune A Day Performance Pieces
Violin and Piano
[Sheet music + CD]
-
Easy
Boston Music
Pages explicatives sur la lecture et compréhension de la musique / Violon / 48 ...
(+)
Pages explicatives sur la lecture et compréhension de la musique / Violon / 48 pages / Partition + Cd
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In My Garden 1 (IGUDESMAN ALEKSEY)
Violin and Piano
Universal Edition
Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY...
(+)
Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a modern day Victor Borge. With his cabaret partner, Hyung-ki Joo, he has toured concert halls all over the world, wringing all that is humorous out of classical music with just the basic tools of violin and piano. 'In my Garden 1” shows Igudesman in another light, that of a violin teacher, providing excellent material for younger violin students. Each piece depicts a fruit or vegetable to be found growing in the garden and includes a short poem (in English, French and German) and pictures to inspire the pupil and help them to interpret the music. But these are not just fun to play - they conceal useful study material to improve technique like staccato or lyrical smooth bowing. Clever use of double stops (one note always an open string) will help the student make a more rewarding sound and inspire confidence. Grade 1 students can enjoy some of the pieces and still be dipping into it a year or two later. A piano part is included to make these pieces ideal for an end-of-term concert and, for more ideas, Igudesman has also depicted animals in similar fashion in his two volumes 'In the Zoo”./ Recueil / Violon et Piano
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Sonates Pour Piano Forte Et Violon Op. 30
Violin and Piano
Barenreiter
Beethoven?s ten sonatas for piano and violin, along with those by Mozart, consti...
(+)
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.
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Sonates Pour Piano Forte Et Violon Op. 12
Violin and Piano
Barenreiter
Beethoven?s ten sonatas for piano and violin, along with those by Mozart, consti...
(+)
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.
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Stringendo
Violin and Piano
[Sheet music]
Fennica Gehrman
Contemporary works for violin and piano. Par . Fennica Gehrman the music publish...
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Contemporary works for violin and piano. Par . 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. Contents Kalevi Aho (b. 1949): Le Tombeau de J. K. Einojuhani Rautavaara (1928-2016): Sydämeni laulu - Song of my heart Mikko Heiniö (b.1948): Naisten päivä - Women's Day Jyrki Linjama (b. 1962): De Profundis I Lotta Wennäkoski (b. 1970): Vestige Matthew Whittall (b.1975): Waiting to hear Olli Kortekangas (b. 1955): Capriccietto Harri Wessman (b.1949): Giocoso Veli-Matti Puumala (b. 1965): Édera IV Kimmo Hakola (b.1958): A Double Jubilee / Date parution : 2022-12-12/ Répertoire / Violon et Piano
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Arboretum Suite (DAVIS OLIVER)
Violin and Piano
[Sheet music]
Chester
Par DAVIS OLIVER. 'For many years the violinist Kerenza Peacock and I have been ...
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Par DAVIS OLIVER. 'For many years the violinist Kerenza Peacock and I have been discussing the concept of a piece about trees. One day I received in the post from her a book by Annie Davidson entitled, ‘How to be More Tree’. This brilliant book became the inspiration for the Arboretum Suite. The first tree I decided to write about was Aspen. I read that Aspen trees work together sharing water and nutrients through their root system, so only as a community can they grow in strength. Aspen is followed by Açai Palm, a tree which is native to Brazil and Argentina, hence the Latin American feel of this movement. The score is marked pizzicato, the plucked sound further accentuating the South American rhythms. The Vanishing Mahogany of the Amazon naturally has a very sombre feel, although the major key ending of this movement reflects the hope that we may still manage to save the rain forests. The last movement describes my response to the description of the Mountain Hemlock. I wanted to create rhythms that depicted this beautiful tree swaying in the mountain winds.' - Oliver Davis / Date parution : 2022-06-08/ Répertoire / Violon et Piano
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Take The Lead. Tv Themes
Violin and Piano
[Sheet music]
I.M.P.
Take the lead and enjoy playing along to your favourite TV tracks. The book cont...
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Take the lead and enjoy playing along to your favourite TV tracks. The book contains carefully selected and edited top line arrangements and chord symbols. The CD contains full backing tracks professionally arranged and recorded, and full demonstration tracks to help you learn the pieces. Take The Lead is an integrated series. In each edition all the songs are in the same concert pitch key, so the different instruments can play together. Suitable for intermediate players. / TV, Film, Comédie musicale / Date parution : 2005-05-27/ Recueil / Violon et Piano
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The Nordic Fiddler
Violin and Piano
[Sheet music + CD]
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Intermediate
Boosey and Hawkes
Another addition to the hit series, making authentic folk music available in a f...
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Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons, Guitare Et Piano
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The Nordic Fiddler
Violin and Piano
[Sheet music + CD]
-
Intermediate
Boosey and Hawkes
Another addition to the hit series, making authentic folk music available in a f...
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Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons Et Guitare
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3 Romanzen Op. 22 (SCHUMANN CLARA)
Violin and Piano
[Sheet music]
Breitkopf & Härtel
Arrangeur: Joachim Draheim. Par SCHUMANN CLARA. 'You can be rightfully pleased w...
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Arrangeur: Joachim Draheim. Par SCHUMANN CLARA. 'You can be rightfully pleased with what is coming!' announced Clara Schumann self-confidently in late 1855 to the 24-year-old Joachim upon sending him a copy of the 'Three Romances' op. 22 for violin and piano that had just been published by Breitkopf
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My Blue Violin
Violin and Piano
Schott
My blue violin draws both musicians and listeners into the world of swing and ja...
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My blue violin draws both musicians and listeners into the world of swing and jazz. Fast cheerful pieces alternate with pensive ones. Titles like My Cat and Me or Die Radtour [The Bicycle Ride] make the poetry of small things resound. Like a musical diary, they make us notice the beautiful things in everyday life. The pieces are of easy to intermediate difficulty and suitable for performances as well as music lessons. / Violon Et Piano
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After Hours (WEDGWOOD PAM)
Violin and Piano
[Sheet music + CD]
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Easy
Faber Music Limited
Par WEDGWOOD PAM. After Hours comprises eight laid back jazzy pieces for Violin ...
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Par WEDGWOOD PAM. After Hours comprises eight laid back jazzy pieces for Violin and Piano, covering a variety of styles from cosy dinner jazz to wistful blues and more upbeat numbers, composed by Pam Wedgwood. The perfect way to wind down after a stressful day! The accompanying CD contains two tracks for each piece in this book: the first track is a full performance of the piece, allowing you to hear how it should sound and be played - and the second is a recording of the backing only, giving you the opportunity to play-along yourself, without the need for an accompanist! The solo violin part is also included on a separate insert. / Niveau : Assez Facile / Date parution : 2004-09-02/ Recueil / Violon et Piano
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