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At the End of the Day
ZITHER
Violin and Piano
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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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Johannes Brahms: Sonata Movement in C minor from the FAE-Sonata: Violin:
Violin and Piano
Barenreiter
Sonata WoO postum for Violin and Piano-Edited by Clive Brown and Neal Peres Da C...
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Sonata WoO postum for Violin and Piano-Edited by Clive Brown and Neal Peres Da Costa with an Urtext solo part as well as a second part with performance markings.Johannes Brahms The Works for one Instrument and Piano:Johannes 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 playerswho first performed these compositions including Brahms himself.The New Urtext Editions:Bärenreiter?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
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Claude Debussy: Sonata For Violin And Piano In G Minor: Violin: Instrumental
Violin and Piano
G. Henle
Debussy wrote his solitary Violin Sonata in the closing days of his life plague...
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Debussy wrote his solitary Violin Sonata in the closing days of his life plagued by the distress of the ongoing Great War financial difficulties and health issues of a terminal cancer. Shortly afterits completion in April the first performance took place on May 5th 1917 with Debussy himself at the Piano. This was the composer?s last public appearance before his death in 1918.The Sonata For Violinand Piano was the third and final composition in a cycle intended to consist of six sonatas for various instruments. It has an overall atmosphere of melancholy while also capturing contradictory characteristics such asjoy and silliness presented in a form closer to a fantasia than a sonata. The three expressive movements (Allegro vivo Intermede and Finale) are written in a French nationalistic spirit withdistinctive influences from Spanish and gypsy music throughout. This ambiguousness and ambivalence in form sound and character all attribute to Debussy?s innovative language of ?musical impressionism? which has become afavourite of musicians and audiences alike.The comments at the end of this Urtext edition provide detailed information on the sources and alternative readings while the preface by François Lesure in German English andFrench gives historical and biographical context. Two copies of the Violin solo are included as separate inserts.
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Sonata in D minor for Violin and Piano op. 108: Violin: Instrumental Work
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The wo...
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Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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Johannes Brahms: Sonata in A major for Violin and Piano op. 100: Violin:
Violin and Piano
Barenreiter
Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The wo...
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Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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Johannes Brahms: Sonata in G major for Violin and Piano op. 78: Violin:
Violin and Piano
Barenreiter
A pioneering set of Urtext editions.String editions include an Urtext solo part ...
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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.Bärenreiter?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 offertoday?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.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.
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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...
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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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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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César Franck: Violin Sonata In A: Violin: Score and Parts
Violin and Piano
G. Henle
revised edition of HN 293-Whilst some late works by César Franck have received ...
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revised edition of HN 293-Whilst some late works by César Franck have received criticism the Sonata For Piano and Violin In A Major of 1886 found a friendly reception among critics and public from the outset. This work isdedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless Violin technique. Ysaÿe was so inspired by the Sonata that he promised 'I will play this masterpiece wherever I can find anartistically-minded pianist'.Nothing has changed to the present day regarding the work's continuing popularity but it was time to revise Henle's previous edition to reflect the latest research. In the intervening period ithas been shown that Franck was actively involved in reading the proofs for the printed edition meaning that the first edition which contains many differences from the autograph has become the basis for this new one.The markings of the Violin part of Henle's edition are by Yehudi Menuhin; Daniel Hope has undertaken the changes required by the revised musical text.
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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...
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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...
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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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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 Et Guitare
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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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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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Herbert Howells: Three Dances: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Novello & Co Ltd.
Violin and Piano reduction of Three Dances Op. 7 for Violin and Orchestra. The T...
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Violin and Piano reduction of Three Dances Op. 7 for Violin and Orchestra. The Three Dances are delightful miniatures written in 1915 in relatively carefree student days (relatively because the Great War was already a year old and Howells through ill health which nearly killed him in 1917 was exempted from active service). They were composed for a young fellow-student George Whittaker a highly gifted violinist who had entered the College aged only eleven. Certainly the music has no hint of the momentous events beginning to take shape and which would fundamentally affect one of his closest friends Ivor Gurney and kill a number of others.
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Alexandra Wood: Spectrum for Violin + CD: Violin: Instrumental Album
Violin and Piano
[Sheet music + CD]
ABRSM Publishing
16 contemporary pieces for violin-Spectrum For Violin is an exciting introductio...
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16 contemporary pieces for violin-Spectrum For Violin is an exciting introduction to the music of today for all violinists. The 16 pieces included have been specially commissioned from some of today's leading composers and reflect current compositional trends. With at least one piece at each of Grades 1 to 8 there's something here for players of all ages and abilities.Included is a a recording of the 16 pieces performed by violinist Alexandra Wood - compiler of this volume - and pianist Thalia Myers. The CD also contains recorded accompaniments for the two works composed for Violin and soundtrack.With pull-out Piano accompaniment part.
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Happy Birthday Variations (IGUDESMAN ALEKSEY)
Violin and Piano
Universal Edition
Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a mode...
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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. The “Happy Birthday Variations” for violin and piano are dedicated to his good friend, the late Sir Roger Moore and are typical of Igudesman’s brand of humour. They take the internationally known musical greeting on a world-wide tour, from a Viennese Waltz, through a Big Band number, a Bulgarian Vivace in 7/8, a Russian Presto, a Tango and an Alpine Air to conclude in a Paganini-esque finale that’s not quite as difficult as it looks. A great concert showpiece for intermediate students, not least if someone in the audience is celebrating a special day! Or, if the teacher prefers to play the violin, Igudesman’s “The Soloist’s Ultimate Happy Birthday” (UE37199) does a different but equally funny job for violin duet./ Recueil / Violon et Piano
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