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ORCHESTRA - BAND
ORCHESTRA - BAND
Violin and Piano
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Solistes SBar, Choeur SATB, 2 … (11)
Solistes SATB, Choeur SATB, 2 … (11)
Flute and Guitar (11)
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Violon 2 (11)
Biography (11)
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Solistes SATB, Choeur SATB, 4 … (10)
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Euphonium or Saxhorn and Piano… (7)
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MAND::Mandolin (6)
Baryton ou Tuba et Fanfare (6)
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Mezzo-Soprano et Orchestre (6)
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Piccolo (5)
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Cornet and Orchestra (4)
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Musical Awakening (4)
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Bass guitar (4)
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Clarinette et Quatuor Cordes… (4)
String Quartet (4)
Marimba (4)
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Balalaika (4)
Voices, Choir and Orchestra (4)
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Trio A Vent-Bois (4)
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Clarinette en Sib, 2 Violons, … (4)
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Organ, Piano (duet) (4)
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DVD concert (4)
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Piccolo, Piano (4)
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Children choir, Piano (4)
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Xylophone, Piano (3)
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Mug (3)
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Hautbois, Violon ou 2 Violons … (3)
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3 Pianos (3)
Orgue et Fanfare (3)
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Voice, Guitar (3)
Saxophone Soprano et Piano (3)
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TPT/TIMP::Trompette, Timbale (2)
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HN/ORCH::Cor, Orchestre (2)
Folk Ensemble (2)
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Voix Moyenne et Orchestre (2)
Quatuor A Cordes Et Orchestre (2)
Trompette Et Orchestre (2)
Choeur De Femmes (SA) (2)
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Basse Partie Spare (2)
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Solistes SATB, Choeur SATB, 2 … (2)
Solistes SATB, Choeur SATB, 2 … (2)
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English Horn (2)
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Solistes SATB, Choeur SATB, (C… (2)
Opra (2)
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VLC/ORCH::Violoncelle/Orchestr… (2)
Instrument Solo en Do et Orche… (2)
Voices (STB), Mixed Chorus, B… (2)
Solo Piano (2)
Bugle et Orchestre (2)
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Cor Anglais et Orchestre Cor… (2)
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Soprano, SATB et Orchestre (2)
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Basson Et 3 Trompettes (2)
Marimba or Xylophone and Piano… (2)
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Contrebasse et Orchestre (2)
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Strings orchestra (2)
Oboe, Guitar (duet) (2)
Choeur d'Enfants ou Baryton et… (2)
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Solistes SATB, Choeur SATB, (C… (2)
Trombone, Piano Et Percussions… (2)
Vocal score (2)
Parties Supplmentaires (2)
Solistes SATB, Choeur SATB, 2 … (2)
Alto ou Violoncelle et Piano (2)
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Violon, Alto Et Orchestre (2)
Harpe et Piano (2)
Clarinet, Bassoon (duet) (2)
Clavecin et Orchestre Cordes… (2)
Marimba or Xylophone (2)
3 Solistes, Choeur Et Orchestr… (2)
Soprano et Orchestre de Chambr… (2)
VLN/ORCH::Violon, Orchestre (2)
Choeur De Cuivres Et Orchestre… (2)
Ottavino, 2 Fltes Traversire… (2)
Electric bass, Drums (2)
Soprano (2)
Flute, Cello, Piano (trio) (2)
Soprano Saxophone and Piano (2)
Soprano, Baryton Et Orchestre (2)
Clarinette Et Cordes (2)
Solistes SATB, Choeur SATB, Co… (2)
Piano et Orchestre Cordes (2)
Flute, Oboe (duet) (2)
Voix solo - piano (2)
Marimba (2)
Narrateur Et Orchestre (2)
Organ, Trumpet (duet) (2)
Choeur De Femmes (SSA) A Cappe… (2)
Solistes STBar, Choeur SATB, 2… (2)
Carillon Cloches (2)
Solistes SATB, Choeur SATB, 2 … (2)
Flte Seul Ou Avec Piano (2)
Solistes SATB, Choeur SATB, Ba… (2)
Solistes SATB, Choeur SATB, 2 … (2)
Rapport Critique (2)
Solistes, SATB et Orchestre (2)
Voix Mixtes et Orchestre (2)
Solistes, Chur Mixte SATB et … (2)
Solistes SATTBB, Choeur SATB/S… (2)
OB/ORCH::Oboe, Orchestra (2)
Soli Et Choeur SATTB Sans Acco… (2)
Voice Soprano, Cello (2)
Cor en Fa (2)
Alto et Orchestre de Chambre (2)
Guitar, Bassoon (2)
Tnor Solo, Violon Solo, SATB,… (2)
Book (2)
Choeur SATB et Orgue ou Piano (2)
Soli Et Choeur SATB Sans Accom… (2)
Solistes SATB, Choeur SATB, 2 … (2)
Baryton Solo, Choeur et Orches… (2)
Soli/Choeur SATBB Sans Accompa… (2)
Solistes SATB, Choeur SATB, 2 … (2)
Choeur SATB, 2 Hautbois, 2 Cla… (2)
3 Trombones (trio) (2)
MANDA::Mandola (2)
Cor Anglais (Hautbois), Trompe… (2)
SATB/ORCH::SATB, Orchestra (2)
Flte Traversire(S) Et Autres… (2)
Solistes SATB, Choeur SATB, (4… (2)
VLA/ORCH::Viola, Orchestra (2)
Mixed Choir (SATB) and String … (2)
Solistes SATB, Choeur SATB, 2 … (2)
2 Clarinets (duet) (2)
Piano, Voice, Guitar tablature… (2)
Saxophone Alto, Saxophone Sopr… (2)
Parties Solo, Choeur Et Orches… (2)
ORCH/VLA::Orchestra, Viola (2)
Orgue, Orchestre Cordes et 2… (2)
3 Guitars (trio) (2)
Soprano, Tnor, Basse, Choeur … (2)
Orchestre De Percussions (2)
Violon et Ensemble (2)
Piano, Orchestre (2)
Partition Et Parties (2)
Solistes SATB, Choeur SATB, 2 … (2)
Xylophone (2)
Choral, Organ (2)
Quatuor Cordes et Orchestre (2)
Organ, Strings (2)
Solistes SATB, Choeur SATB, (C… (2)
Percussions (2)
Oeuvres Thtrales/Oratorios e… (2)
Reportage (2)
VLA/ORCH::Viola, Orchestre (2)
Flute, Violin, Violoncello and… (2)
Chur d'Hommes [TTBB/TTBB] et … (2)
Grand Ensemble Contemporain et… (2)
Voices and Orchestra (2)
Conducteur De Poche (2)
Flte traversire (2)
Bass Clarinet (2)
Brass Quartet: 4 trombones (2)
Tnor, Alto ou Baryton et Orch… (2)
Quintette Variable (2)
OPERA::Opra (2)
Soli/Choeur Mixte Et Orchestre… (2)
Petit Orchestre Ou Voix Et Pet… (2)
Descent (Soprano) Recorder, Pi… (2)
Solistes SATB, Choeur SATB, 2 … (2)
Alto (Partie spare) (2)
SATB et Orchestre (2)
2 Pianos, 3 hands (2)
Brass Quartet: 4 horns (2)
Solistes SATB, SATB et Orchest… (2)
Cello, Organ (2)
Orchestral (2)
Violon et Orchestre de Chambre… (2)
Chur Mixte [SATB] et Orchestr… (2)
TEN/BASS/BAR/TTBB/ORCH::Tenor/… (2)
Piano et Orchestre en Do (2)
BASS::Bass Voice (1)
Tnor et Orchestre de Chambre (1)
Mixed Choir (SATB), Clarinet, … (1)
Choeur Mixte SATB et Piano (1)
Flute, Basso continuo (1)
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Flte, 2 Clarinettes En Sib, T… (1)
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Solistes SSSATB, Choeur SSATB,… (1)
Klavierauszug - Flte (Oboe) … (1)
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Concerto D Major Op. 61 For Violin And Orchestra
Violin and Piano
G. Henle
Considéré par beaucoup comme le dernier représentant du classicisme viennois,...
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Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Concerto D major op. 61 for Violin and Orchestra pour Violon et plus particulièrement pour Violon Et Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Violon Et Piano / Chanson En Séparée
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Concerto For Violin And Orchestra A Minor Bwv 1041
Violin and Piano
[Sheet music]
G. Henle
Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur...
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Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Concerto for Violin and Orchestra a minor BWV 1041 qui a été écrite pourViolon Et Piano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 671. / Violon Et Piano / Partition
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Peter Maxwell Davies: Concerto For Violin And Orchestra: Violin: Instrumental
Violin and Piano
[Sheet music]
Chester
This work was commissioned by the Royal Philharmonic Orchestra to celebrate its ...
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This work was commissioned by the Royal Philharmonic Orchestra to celebrate its 40th birthday and was written for Isaac Stern. The first performance took place in June 1986 at St. Magnus' Cathedral Kirkwall as part of the tenthSt. Magnus Festival. It was given by Isaac Stern and the Royal Philharmonic Orchestra conducted by Andre Previn.This book contains the solo violin part and a piano reduction of the orchestral score.
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John Corigliano: Concerto For Violin And Orchestra: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Schirmer
John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon ...
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John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon music he composed for the film of the same name which won an Academy Award for best film score. The story spans three centuriesin the life of a magnificent but haunted Violin in its travels through space and time. Corigliano composed this 36-minute concerto in memory of his father the former concertmaster of the New York Philharmonic. For Violin andPiano reduction.
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Wolfgang Amadeus Mozart: Single Movements for Violin and Orchestra: Violin: Part
Violin and Piano
[Reduction]
Barenreiter
Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in...
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Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in B flat K.269; Rondo in C K.373).vn orchPiano reduction(New edition with Cadenzas)
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Benjamin Frankel: Concerto For Violin And Orchestra Op.24: Violin: Instrumental
Violin and Piano
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Novello & Co Ltd.
Benjamin Frankel's reputation is based on the cycle of five string quartets and ...
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Benjamin Frankel's reputation is based on the cycle of five string quartets and eight symphonies which together with the powerfully beautiful concertos for violin and for viola rather overshadow many of his other fine pieces. The Violin Concerto grew from the composer's long and close association with Max Rostal a friendship which also inspired one of Frankel's perhaps best known compositions the First Sonata for Solo Violin.Frankel's exciting Concerto For Violin And Orchestra Op.24 has been beautifully arranged for Violin with Piano Reduction by Philip G. Jones. The solo violin part is also included on a separate insert.
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Bohuslav Martinu: Concerto for Violin and Orchestra no. 2 H 293: Violin:
Violin and Piano
Barenreiter
After hearing the Boston Symphony Orchestra perform Martinu?s Symphony No. 1 in ...
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After hearing the Boston Symphony Orchestra perform Martinu?s Symphony No. 1 in New York Mischa Elman commissioned the composer to write a Violin Concerto for him. Martinu thereupon composed his second Violin Concerto in 1943. That same year Elman played the solo part at the première with Sergei Koussevitzky conducting the Boston Symphony Orchestra.This Piano reduction is based on the musical text of the first edition. The solo part has been revised by a leading Czech violinist and performer of Martinu?s music.Major Violin concerto of the 20th centuryNew Foreword by Martinuscholar Sandra Bergmannová (Cz/Eng/Ger)Performance material available for hire
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Wolfgang Amadeus Mozart: Single Movements For Violin And Orchestra: Violin:
Violin and Piano
[Reduction]
G. Henle
For years Henle has been issuing urtext Piano reductions of Mozart?s works for V...
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For years Henle has been issuing urtext Piano reductions of Mozart?s works for Violin and Orchestra at six-month intervals. Now the time has come for the three Single Movements. These incomparabletreasures of the Violin literature are too well-known to require special praise here. Each solo part appears in an impeccable urtext edition accompanied by cadenzas improvised lead-ins (Eingänge) fingering and bowing marks. ThePiano reduction sounds beautiful and is easy to play or to quote Mozart?s own words 'it comes off as smooth as silk'.
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John Joubert: Concerto For Violin And Orchestra (Violin/Piano): Violin:
Violin and Piano
[Sheet music]
Novello & Co Ltd.
Concerto For Violin And Orchestra (Violin/Piano)
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Bartok B. - Violin Concerto No.1 Op.posth. - Violin And Orchestra
Violin and Piano
Boosey and Hawkes
Edition : piano reduction with solo part Instrumentation : violin and orchestra ...
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Edition : piano reduction with solo part Instrumentation : violin and orchestra Date of Composition: 1907-8 Duration : 21' Number of Pages : 32
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Johann Sebastian Bach: Concerto For Violin And Orchestra In E BWV 1042: Violin:
Violin and Piano
[Reduction]
G. Henle
The Concerto For Violin And Orchestra In E (BWV 1042) was written in three movem...
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The Concerto For Violin And Orchestra In E (BWV 1042) was written in three movements: Allegro Adagio Allegro Assai. Its history is somewhat vague as no autograph manuscript survives. Originallyscored for Violin Strings and Continuo it is presented here with a Piano reduction. Editorial suggestions for bowing and fingering have been provided together with a ?clean? copy for the violinist?s own use. J. S.Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist and choirmaster but was also employedas a composer a many different Royal Courts.
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Camille Saint-Saëns: Concerto For Violin And Orchestra No.1 Op.20: Violin:
Français
Violin and Piano
[Reduction]
Hamelle
Concerto For Violin And Orchestra No.1 Op.20
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Bohuslav Martinu: Concerto for Violin and Orchestra no. 1 H 226: Violin:
Violin and Piano
Barenreiter
Bohuslav Martinu wrote his first Violin Concerto in Paris in 1932 33 this work ...
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Bohuslav Martinu wrote his first Violin Concerto in Paris in 1932 33 this work having been commissioned by the Violin virtuoso Samuel Dushkin. However it was never performed during the composer?s lifetime and was even considered lost after his death. It was not until 1961 that musicologist and collector Hans Moldenhauer bought it from Boaz Piller contrabassoonist of the Boston Symphony Orchestra. Moldenhauer approached Czech violinist Josef Suk who gave the world premiere of the work with the Chicago Symphony Orchestra under Georg Solti in October 1973.This Piano reduction is based on the musical text of the first edition. The solo parthas been revised by a leading Czech violinist and performer of Martinu?s music.Major Violin concerto of the 20th centuryNew Foreword by Martinu scholar Sandra Bergmannová (Cz/Eng/Ger)Performance material available for hireFull score available for sale (H5798)
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Ravel Maurice - Tzigane - Violon and Piano
Violin and Piano
Barenreiter
Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ra...
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Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D?Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer?s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of ?Tzigane? from the estate of Jelly D?Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D?Aranyi?s fingering
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Maurice Ravel: Tzigane: Violin: Instrumental Work
Violin and Piano
Barenreiter
Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hung...
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Concert rhapsody for violin and piano-In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim Jelly D?Aranyi in concert in London. Following the performance Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano producing a sound similar to the rich overtones of the Cimbalon) the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel laterorchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version complete with full score and performance material as well as in the composer?s earlier version for violin and piano. All known sources including letters have been drawn on for the new edition; one of the available sources consulted for the first time was a copy of ?Tzigane? from the estate of Jelly D?Aranyi which is today part of a private collection. The version for piano and violin contains besides the Urtext part a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D?Aranyi?s fingering
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Witold Lutoslawski: Lullaby for Anne-Sophie: Violin: Score and Parts
Violin and Piano
Chester
After Chain II for Violin and Orchestra in (1985) and the orchestrated version o...
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After Chain II for Violin and Orchestra in (1985) and the orchestrated version of Partita in (1988) Lullaby For Anne-Sophie for Violin and Piano was the third piece composed by WitoldLutoslawski. Witold Lutolawski was a Polish composer and orchestral conductor. Lutolawski is said to be one of the major European composers of the 20th century.
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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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Camille Saint-Saëns: Havanaise Op.83: Violin: Instrumental Work
Violin and Piano
[Score and Parts]
Barenreiter
First scholarly-critical edition of this work.Variants from the Orchestral versi...
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First scholarly-critical edition of this work.Variants from the Orchestral version shown in the Violin part.This virtuoso work based on the Cuban Habanera rhythm was composed in 1887 and is a part of standard concert repertoire. Following Christine Baur?s highly successful Bärenreiter Urtext edition of Saint Saens? ?Allegro appassionato? (BA 9047) the editor now presents the ?Havanaise? in the version for Violin and Piano.This first-ever critical edi tion of ?Havanaise? draws on both the composer?s autograph version for Violin and Piano as well as the later orchestrated version. Where the solo part of theorchestral version differs from the version for Violin and Piano the variants are shown in the Violin part as ossias.The editor offers a concise and informative introduction (Eng/Ger/ Fr) on the history and compositional process of ?Havanaise?; a detailed critical commentary (Eng) concludes this Urtext edition.
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Rêverie Et Caprice (Violin And Piano)
Violin and Piano
Classical guitar
Faber Music Limited
Following the composition of Harold En Italie for Viola and orchestra in 1834, B...
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Following the composition of Harold En Italie for Viola and orchestra in 1834, Berlioz began work on the opera Benvenuto Cellini , which subsequently failed on its first performances at the Paris Opera in 1838. Berlioz withdrew the opera for substantial revision, and from some of the discharged material he later fashioned this Reverie Et Caprice (in versions both for Violin and orchestra and Violin and Piano). Dedicated to Berlioz's violinist friend Alexandre-Joseph Artot, the piece was quickly taken up by several celebrated violinists of the time, including David, Joachim and Wieniawski, and was played all over Europe. This new edition for Violin and Piano, by the musicologist and performer Neil Heyde, is based on the first edition of the score.
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Miller: Christmas Strings: Violin 1 and 2: Violin Duet: Instrumental Album
Violin and Piano
[Sheet music]
-
Beginner
Mel Bay
With Piano Accompaniment-These books are arranged to be performed with various c...
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With Piano Accompaniment-These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known others will sound fresh and new tomost players. The pieces may be performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the pianoaccompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas Inc. If performed with full orchestra no solo parts should beplayed except the 1st violin part. Note also if you wish to perform these works with full orchestra and you are short certain instruments you still have some flexibility with the score. For example if there are not enoughviolas for balance the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas.
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Romanesca Op. 13/1
Violin and Piano
Schott
Any violinist who hears the name Sitt nowadays will probably just think of the a...
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Any violinist who hears the name Sitt nowadays will probably just think of the author of studies and exercises that have long been a familiar feature in instrumental lessons. Of course the Prague violinist, music teacher and composer Hans Sitt (1850-1922) made a significant impact on methods of violin teaching, but he also wrote a whole series of other works worth listening to: concertos for violin, viola and cello and chamber music for various combinations of instruments. Sitt studied the violin in Prague and was then appointed first as leader of the orchestra and then as musical director in Breslau (now called Wroc?aw).After posts as director of music in Prague, Chemnitz - where he championed the work of Smetana - and Nice, he was eventually appointed professor of violin, orchestral playing and score reading at the Leipzig Conservatoire from 1884-1921. Besides this he also played viola in the Brodsky Quartet, organised concerts and was conductor of the Bach Society. The composers Franco Alfano - who completed Puccini's unfinished opera Turandot- and Frederick Delius studied with Sitt, as did the conductor Václav Talich. Three Album Leaves op. 13 were also composed during his time in Leipzig, published by Bosworth and Co in 1894. Romanesca, #1 in that collection, is a pretty, slightly melancholy piece of music with romantic appeal that draws out lyrical and expressive playing and is thus eminently suitable for tuition purposes and concert performances. / Violon Et Piano
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Edward Elgar: Chanson de matin- Chanson de nuit: Violin: Instrumental Work
Violin and Piano
[Sheet music]
-
Intermediate
Peters
In the earlier part of Elgar's career as a composer he wrote several short piec...
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In the earlier part of Elgar's career as a composer he wrote several short pieces which became very popular. Chanson de Nuit and Chanson de Matin both carried his name far and wide before he composed his larger orchestral works. These two pieces which together complete Op.15 were published in several versions at once: for string orchestra for small orchestra for violin and piano and so on - so it is almost impossible to say with any degree of certainty which was the original version. However Elgar himself was a good violinist and so it may well be that he would have played this tune through to himself on the violin before adding a piano part andsending it off to his publishers for their consideration. In any event it remains a beautiful theme of considerable character and style.This Urtext edition provides you with an accurate representation of the composer’s original intentions and thoroughly detailed editorial marking and suggestions with commentary as edited by Donald Burrows.This is the version for Solo Violin with Piano Accompaniment. The solo violin part is also included on a separate insert.
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Après un silence (CASKEN JOHN)
Violin and Piano
Schott
for violin and piano. Par CASKEN JOHN. 'Après un silence' was originally writte...
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for violin and piano. Par CASKEN JOHN. 'Après un silence' was originally written as a work for violin and piano. The piano part was subsequently orchestrated in such a way that the work may be performed with a chamber orchestra or with an ensemble of the same forces using strings. 'The violin's opening interval of a rising sixth is the gem from which everything is developed into one extended movement.' This will become a regular presence in the violin and piano repertoire./ Répertoire / Violon et Piano
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Hugh Wood: Violin Concerto: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Chester
Violin Solo with Piano reduction of Orchestral Score. Work for Violin and Orches...
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Violin Solo with Piano reduction of Orchestral Score. Work for Violin and Orchestra commissioned by the Royal Philharmonic Society and the Gulbenkian Foundation. Premiered by Manoung Parikian.
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Wolfgang Amadeus Mozart: Concerto in D KV Anh.56: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Chester
This reconstruction of the Concerto in D K.315f was first performed on 15th Aug...
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This reconstruction of the Concerto in D K.315f was first performed on 15th August 1985 at the Dartington Hall Summer School of Music by Ernst Kovacic (Violin) and Bernard Roberts (Piano) with the Dartington Chamber Orchestra conducted by Diego Masson. Instrumentation includes SOLO VIOLIN; SOLO PIANO; 2 FLUTES; 2 OBOES; 2 HORNS IN D AND G; 2 TRUMPETS; TIMPANI; STRINGS. The duration of this work is 25 minutes. Full score solo and orchestral parts are available on hire from the publishers.
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Jones: Viennese Fiddler: Violin: Instrumental Album
Violin and Piano
[Score and Parts]
Boosey and Hawkes
Viennese music has become almost synonymous with Johann Strauss II and his great...
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Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.
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Wolfgang Amadeus Mozart: Violin Concerto No.3 In G K.216: Violin: Instrumental
Violin and Piano
[Sheet music]
-
Easy
Barenreiter
Mozart composed the majority of his works for solo String Instruments and Orches...
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Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.The Piano reduction of Mozart?s G Major Violin Concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages.The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section.A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas ?Eingänge? and fermata embellishments by Eugène Ysaÿe Leopold Auer Sam Franko and Martin Wulfhorst.This collection offers players a spectrum of styles available in no other publication.Urtext of the New Mozart EditionFull score and parts (BA4865) Violin and Piano reduction (BA4865-90) and study score format 22.5 x 16.5cm (TP272) available for sale.
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