Pablo de Sarasate (1844-1908), sans doute, est l'un des virtuoses du violon les plus importantes et les plus prospères de la seconde moitié du 19ème siècle et est devenu immortel à travers ses morceaux de bravoure virtuose et très expressive dans le monde de jouer du violon. Son programme de concerts se composent essentiellement de ses propres compositions, même si pas mal de quelques travaux avaient été consacrés à lui par des compositeurs collègues et fait sur mesure pour lui: par exemple, 'Symphonie espagnole' de Lalo, 'Scottish Fantasia 'de Bruch et des oeuvres pour violon de Saint-Saëns et Wieniawski. En dehors des oeuvres de son propre Sarasate a également organisé d'autres oeuvres pour son propre usage, comme les deux 'Nocturnes' de Frédéric Chopin. Pour les pianistes, il peut sembler comme un sacrilège d'organiser ces chefs-d'oeuvre, mais Sarasate voulu souscrire certaines des plus belles mélodies et les plus tendres pour le violon qu'il a vu avant tout comme un instrument vocal. Ou il aurait regretté que Chopin n'avait pas écrit une oeuvre originale pour violon et piano - mais voici arrangement de Sarasate pour compenser ce manque. / Violon Et Piano

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.

Jazz Touch - Pop-Romanze/Pop Romane - RAPsody. Par SCHMITZ MANFRED. Aujourd'hui, les enfants et les jeunes musiciens sont intéressés à jouer de la musique populaire qui les entoure chaque jour sur leur propre instrument. Comme les offres de compositions originales pour violon et piano dans ce genre sont rares, et la demande légitime de ces pièces est si élevée, ces trois nouvelles compositions pour les étudiants de violon avancées ont été créées. Peu importe où ces pièces ont été effectuées, le bruit attrayant, ' différent ' a été bien reçu et suscité l'intérêt parmi les étudiants, les enseignants et les professeurs alike. Les exigences techniques et musicales créés par une synthèse réussie de la vaste gamme de techniques de composition de violon traditionnel et les styles de musique pop moderne contribuent grandement à l'appel spéciale de ces pièces. Dans ces pièces, l'étudiant bénéficie de la combinaison de différents styles de musique moderne et traditionnelle technique de jeu. Ces compositions représentent un plus coloré de l'éducation et de la bibliothèque de littérature de concert pour la viole de gambe... / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violon et Piano

For Violin And Piano. Par TCHAIKOVSKI PIOTR ILITCH. À côté du fameux Concerto pour violon, de nombreuses oeuvres pour violon de Tchaïkovski font partie intégrante du répertoire standard des violonistes, en témoigne la «Valse-Scherzo», un feu d’artifice technique, écrite en 1877 pour le violoniste JosefKotek, ami proche et élève du compositeur. Notre éditeur, le spécialiste russe de Tchaïkovski, Alexander Komarov, se porte garant de la grande conformité par rapport aux sources de notre édition Henle Urtext. Il a pu consulter toutes les sources desarchives russes et apporter ainsi des éclaircissements à la genèse complexe de l’oeuvre. Cette édition prélude à une édition des oeuvres complètes pour violon et piano de Tchaïkovski, qui comptera aussi la «Sérénade mélancolique» op. 26 et «Souvenird’un lieu cher» op. 42. / Komarov, Alexander / Répertoire / Violon et Piano

Par SCHMITZ MANFRED. This attractive, four-part composition for violin and piano combines classical instrumental technique with the feeling of contemporary pop and jazz styles. The level of difficulty is advanced and for ambitious students it represents the continuation of A LITTLE POP MUSIC and POP ROMANCE. / Niveau : Intermédiaire / Contemporary - Solos / Recueil / Violon et Piano

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Niveau : Moyen / Date parution : 2024-02-16/ Recueil / Violon et Piano (Guitare ad lib.)

Vivaldi achieved popularity throughout Europe with his collection “L’estro armonico” Op.3. He wrote the cycle which consists of twelve violin concertos (including Concerto Op.3 No.3 featured here) for the orchestra of the “Ospedale della Pietà” where he was teacher and director for many years.The two fast outer movements from opus 3/3 feature ritornelli combined with more virtuosic solo sections as was prevalent at the time. This ritornello form gives structure to the movements. It also gives the student who plays both the solo and tutti sections in this edition the opportunity to vary the returning motives interms of dynamics and ornamentation. In the short but expressive Largo distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practise various bowing techniques.

30 intermediate recital pieces for violin and piano. Par . Following the successful first volume, Piccolo Paganini Vol. 2 contains 30 original intermediate-level pieces for violin and piano. Violin experts Christiane Schmidt and Gudrun Jeggle focus on musically sophisticated and rarely-heard concert pieces by composers ranging from Handel and Elgar to Pauline Viardot García and Grazyna Bacewicz. This appealing and attractive repertoire will help every little Paganini shine ? a real treasure trove for teaching, performance, and competitions. 30 intermediate-level compositions for violin and piano (mainly 1st and 3rd positions, but going up to 5th position) Appealing and musically rewarding repertoire pieces Ideal for developing fluency, bowing technique and basic double-stop playing With performance notes and short biographies For teaching, performance, and competitions / Date parution : 2023-06-01/ Recueil / Violon et Piano

Beethoven ?crivit dix sonates pour violon et piano en l?espace de quinze ans seulement (entre 1797 et 1812). La mani?re dont il s?attacha l? encore ? trouver pour chaque nouvelle ?uvre un nouveau mod?le est impressionnante. Dans la sonate en la majeur op. 47 publi?e s?par?ment ici pour la premi?re fois ce genre prend d?embl?e une nouvelle dimension d?s l?entr?e cadentielle du violon sans accompagnement et de par le style virtuose et concertant maintenu du d?but jusqu?? la fin. Sur la page de titre originale Beethoven avait d?ailleurs not? ? juste titre: ?scritta in un stilo molto concertante quasi come d?un Concerto?. Il d?dia cette sonate au violoniste parisien RodolpheKreutzer d?o? son surnom de ?Sonate ? Kreutzer?. ?labor?e avec soin l??dition urtext est fond?e sur le fragment du manuscrit autographe sur l??dition originale allemande la premi?re ?dition anglaise ainsi que sur une copie r?alis?e dans l?atelier du copiste W. Schlemmer et retrouv?e par les ?ditions G. Henle. Cette copie corrig?e par Beethoven fut utilis?e comme copie ? graver pour l??dition originale. L??diteur et chercheur sp?cialiste de Beethoven Sieghard Brandenburg a ?galement supervis? l??dition de la m?me sonate dans le cadre de l??dition compl?te des ?uvres de Beethoven. Sa pr?face comporte des informations importantes relatives ? l??dition de ce chef-d??uvre.