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You've Selected:
Sam
Violin and Piano
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Guitar (347)
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Clarinet (179)
Chamber Orchestra (146)
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Trumpet (138)
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Alto Saxophone (120)
C Instruments (117)
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Cello (112)
Choeur SAM (103)
String Orchestra (93)
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Keyboard (88)
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Music Theory (43)
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Tuba (41)
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Woodwind Quintet: flute, oboe,… (39)
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Solistes SAB, Choeur SATB, 3 F… (23)
Children choir (23)
Descant (Soprano) Recorder (23)
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Double Bass (21)
Mezzo-Soprano voice, Piano (21)
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Choral TTBB (21)
Flute and Guitar (20)
Oboe, Piano (duet) (20)
Piano Accompaniment (19)
2 Flutes (duet) (19)
2 Clarinets (duet) (19)
Quintette de Cuivres (18)
Band Scores (18)
ENS::Ensemble (18)
2 Violons, Violoncelle et Orgu… (16)
Choeur d'Enfants, Solistes, In… (16)
Voice, Guitar (16)
Trombone and Piano (16)
Chant (16)
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CD (16)
String Trio: violin, viola, ce… (15)
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Trumpet, Trombone (duet) (15)
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String Trio: 2 violins, cello (14)
Big band (14)
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Solistes, Choeur d'Enfants, 3 … (13)
Flute, Orchestra (13)
Treble (Alto) Recorder (13)
B Flat, E Flat and C Instrumen… (13)
Double bass, Piano (duet) (13)
Choeur SSAM, (4 Instruments Co… (12)
3 Instruments En Mib (12)
Choeur de Femmes (12)
Cello, Orchestra (12)
Solistes SATBB, Choeur SATB, 2… (12)
3 Instruments En Sib (12)
Piano Quintet: piano, 2 violin… (12)
Trio (12)
Choeur SATB/SATB, (Contrebasse… (12)
Flute, Clarinet (duet) (12)
Tuba and Piano (11)
Educatif (11)
Choeur SA (SAM) et Basse Conti… (11)
Soprano voice (11)
Solistes ATB, Choeur SATB, Tro… (11)
Trompette ou Bugle ou Cornet o… (11)
Saxophone (band part) (11)
Piano Quintet: piano, violin, … (11)
Flute Trio: 3 flutes (11)
Cor en Fa (11)
Chant et Guitare (11)
Bassoon (11)
Chant, Accords Et Piano (10)
Solistes SATB, Choeur SATB, 2 … (10)
Harmonica (10)
Dulcimer (10)
Solistes SATB, Choeur SATB, Or… (10)
Choeur SSAM (10)
3 Guitars (trio) (10)
Stationery (10)
2 Trumpets (duet) (10)
String quintet (9)
Piano, Voice, Guitar tablature… (9)
Baryton ou Tuba Basse Continue… (9)
Choeur SAM, 2 Flûtes Traversi… (9)
Choeur SSATB, (5 Instruments, … (9)
Parties (9)
:: (9)
3 Instruments En Do (9)
Solistes S (A) TB, Choeur SATB… (9)
Choeur SSAT/ATBB (9)
Choral SSATB (9)
Percussions (9)
Choral Unison (9)
3 Clarinets (trio) (9)
Conducteur (9)
Ensemble Mixte (9)
Piano Quartet: piano, violin, … (9)
Saxophone Baryton (9)
Trio avec Piano et Baryton ou … (9)
Batterie et Percussions (9)
Bass Clef Instruments (9)
2 Recorders (duet) (9)
French Horn and Piano (9)
Trumpet, Orchestra (8)
Flute, Clarinet, Horn and Bass… (8)
Saxophone Alto, 2 Trombones, T… (8)
Low voice (8)
Solistes SSAATB (SATB), Choeur… (8)
Violon, Alto, Violoncelle et C… (8)
Quintette avec Piano (8)
Voice and Orchestra (8)
Choeur Mixte (Voix SAM), Flût… (8)
Choeur SSAM, Flûte Traversiè… (8)
Guitare et Musique de Chambre (8)
Concert Band/Harmonie (8)
Clarinet, Violin, Cello, Piano… (8)
Solistes SB, Choeur SSB (SAM),… (8)
Piano, Bass, Drums (trio) (8)
Quintette à vent (8)
Organ, Trumpet (duet) (8)
Trio à Cordes (8)
Choeur à 1 Partie, Choeur SAM… (8)
Choeur SAM et Orgue (8)
Choeur SSA, 2 Flûtes Traversi… (8)
Recorder Quartet (8)
Petit Orchestre: Récitant, So… (8)
Euphonium (8)
Choeur SAM, Flûte à Bec F1, … (7)
Trombone and Orchestra (7)
Soli (ATB), Choeur Mixte (SATB… (7)
Flûte / Hautbois / Flûte à … (7)
Choeur d'Enfants SA, Timbales,… (7)
Voix et Instruments Divers (7)
String Trio: 3 violins (7)
Flute ensemble (7)
Solo M, Choeur SAM, Hautbois, … (7)
Flûte Traversière Violon et … (7)
SAM et Piano (7)
Orchestre, Orchestre A Cordes … (7)
Violon 1, Violon 2, Alto, Viol… (7)
Brass Quartet: 4 trombones (7)
Clarinette Basse ou Clarinette… (7)
Quintette (7)
Choral SSAATTBB (7)
Saxhorn or Euphonium (7)
3 Saxophones (trio) (7)
Biography (7)
Treble (Alto) Recorder, Piano (7)
Harpsichord (6)
Flute, Viola and harp (6)
4 Parties Mixtes Et Orchestre (6)
Choeur SAM, (Choeur Soli) et O… (6)
Mezzo-Soprano voice (6)
Solo S, Choeur SAM, Flûte à … (6)
Euphonium or Saxhorn and Piano… (6)
Solo T et Orchestre (6)
Solistes (SATB), Choeur Mixte … (6)
Choeur SAM, 2 Violons, Alto (F… (6)
Baryton / Tuba / Clarinette Ba… (6)
Violine und Orchester (6)
Organ, Piano (duet) (6)
Solistes SS, Choeur SATB, 2 Vi… (6)
Saxhorn en Sib (6)
Baritone Saxophone (6)
Choeur SAM, 3 Violons et Basse… (6)
Concert Band ou Harmonie et Tr… (6)
Trombone (band part) (6)
Choeur SAM, 2 Trompettes ou 2 … (6)
Xylophone or Marimba or Vibrap… (6)
Saxhorn en Sib en Clé de Sol … (6)
Dobro (6)
Trombone or Euphonium (6)
Marimba (6)
Chanson (6)
Cajon (6)
Piano Trio: Violin, Viola, Pia… (5)
Clarinette, Alto et Piano (5)
2 Choeurs Mixtes à 4 Voix (5)
Solistes, Div. Instruments à … (5)
Accordion ensemble (5)
Solistes SSB (Solo B, Choeur S… (5)
Solo à et Orchestre (5)
Timpani (5)
Choeur d'Enfants à 1 Partie, … (5)
Cordes Et Basse Continue (5)
Solistes, Div. Instruments à … (5)
Solo S, Choeur SAM (SATB), Fl… (5)
High voice (5)
Trio avec Piano (5)
Clavecin (5)
Choeur SAM, 2 Violons (2 Hautb… (5)
Choeur SSAT/ATBB (SSAT/AT, 2 V… (5)
Percussions Diverses (5)
Choeur d'Enfants à 1 Partie, … (5)
Choeur SAM, Flûte Traversièr… (5)
SAM a Cappella (5)
Cornet en Mib (5)
2 Violons, Alto, Violoncelle e… (5)
Solistes SBar, Choeur SAM, 2 V… (5)
Solistes SB, Choeur SAM, 2 Vio… (5)
Guitar Ensemble (5)
Bassoon, Piano (duet) (5)
Piano, Guitar (Chords) (5)
Djembe (5)
Partition de Poche (5)
4 Guitars (Quartet) (5)
Parties Supplémentaires (5)
Partie Séparée (5)
Basson ou Trombone ou Baryton (5)
Guitare, Flûte Ad Libitum et … (4)
Chant et Ensemble de chambre (4)
Violon, Violoncelle et Electro… (4)
String Quintet: 2 violins, vio… (4)
Accordion, Flute (4)
Flûte Traversière (Ney), Sop… (4)
Solo S, Choeur SAM, 2 Violons … (4)
Marches militaires (4)
2 Flûtes à Bec Soprano et Gu… (4)
Flûte Traversière Harpe et A… (4)
Musical (4)
Voice Soprano, Cello (4)
Solistes, Choeur d'Enfants à … (4)
2 Flûtes à Bec Soprano Percu… (4)
Horn and String Quartet (Quint… (4)
Clarinet (band part) (4)
Violoncelle, Contrebasse, Bass… (4)
Clarinette, Flûte Traversièr… (4)
Piano Quartet: piano, 2 violin… (4)
2 Choeurs Mixtes à 4 Voix (SS… (4)
Quatuor à Cordes et Percussio… (4)
Woodwind Quintet (4)
Clarinet Quintet: Clarinet, St… (4)
Violin, Cello (duet) (4)
Flûte Traversière Clarinette… (4)
Accordion - Piano, Voice, Guit… (4)
Clarinet Quartet: 4 clarinets (4)
Livret (4)
Snare drums (4)
Flute, Violoncello (4)
3 Violons, Bas Viol et Basse C… (4)
Trumpet (band part) (4)
2 Flûtes Traversières ou Vio… (4)
Alto (Violon, Violoncelle) Et … (4)
Flûte à Bec, Flûte Traversi… (4)
Soli (SATB), Choeur Mixte (SAT… (4)
Quintette à Cordes (4)
Violon, Violoncelle, Alto et C… (4)
2 Violas (duet) (4)
Exemplaire Complet (4)
Rock, latino, jazz (4)
Clarinette et Quatuor à Corde… (4)
Education musicale (4)
Choeur SAM, 2 Instruments de M… (4)
2 Violins, Guitar (trio) (4)
Soli (T (Evangelist), B (Jesus… (4)
Descent (Soprano) Recorder, Pi… (4)
ENS::Ensemble d'cole (4)
Voix, Instruments (4)
Nursery rhyme (4)
Vibraphone (4)
Clarinette, Saxophone, Trompet… (4)
Choeur SAM et Basse Continue (4)
Clarinette Alto (4)
Flexible Instrumentation (4)
Saxophone Quintet: 5 Saxophone… (4)
Musical Awakening (4)
Flûte à Bec et Orchestre à … (4)
Tenor Banjo (4)
Vocal duet (4)
String Quintet: 2 violins, 2 v… (3)
Choeur Mixte Et Cordes (3)
Fac-similé (3)
Baritone voice (3)
Alto voice, Piano (3)
Tuba ou Basson (3)
1 Ou 2 Flûte(s) Traversière(… (3)
Concert Band ou Harmonie et Cl… (3)
Trombone et Brass Band (3)
Flute, Violin, Piano (3)
Flute Quartet: 4 flutes (3)
Ensemble de Flûtes à Bec (5)… (3)
Saxophone Ténor et Piano (3)
Cello Ensemble (3)
Double bass, Orchestra (3)
Brass Quartet: 2 trumpets, hor… (3)
Voix et Piano Réduction (3)
Solo S (T), Violon Solo et Org… (3)
3 Recorders, Piano (3)
Oboe, Clarinet, Bassoon (trio)… (3)
Piano, Oboe and Bassoon (3)
Orchestre A Cordes (Alto Aussi… (3)
33 Chanteurs (9 Voix, darunter… (3)
Symphonic Band (3)
School Ensemble (3)
Concert Band ou Harmonie et 3 … (3)
Voix, Ensemble et Electronique… (3)
Solistes ATB, Choeur SATB, Cor… (3)
Clarinet, Cello, Piano (trio) (3)
Choral CD (3)
Double Choeur A 8 Voix (SSAT E… (3)
Saxophone Alto et Saxophone T… (3)
Descant (Soprano) Recorder, Ba… (3)
Brass ensemble, Organ (3)
Guitare Tablatures Classique e… (3)
Concert Band ou Harmonie et Tr… (3)
Piano, Guitar, Bass (3)
Cor en Mib (3)
String trio (3)
3 instruments in Ut (3)
Choeur d'Enfants et Piano (3)
Didgeridoo (3)
Orgue et Orchestre (3)
Drums/Percussion (3)
Basson, Trombone ou Baryton (3)
Bass Trombone (3)
Saxophone en Mib et Piano (3)
Saxhorn Basse en Sib, Euphoniu… (3)
Orchestre, Orchestre à Cordes… (3)
Choeur SSATB et Basse Continue… (3)
Piccolo (3)
2 French horns (duet) (3)
Flute, Cello, Guitar (3)
Instruments en Clé de Fa (3)
Clavecin Et Instruments A Cord… (3)
2 Trombones (duet) (3)
2 Trumpets, Keyboard (piano or… (3)
Matériel D'Orchestre (3)
Batterie Brésilienne (3)
Bass Clarinet (3)
Conga (3)
3 Recorders (trio) (3)
Trombone en Sib ou Baryton ou … (3)
DVD concert (3)
Voix et Orchestre (3)
Clarinet, Guitar (duet) (2)
Lyrics only (2)
Oboe and Orchestra (2)
Trompette en Sib (2)
Cello, Organ (2)
Choeur SAM, 2 Trompettes, Trom… (2)
Flute (band part) (2)
Choeur SATB et Basse Continue (2)
Clarinette Ou Trompette Et Pia… (2)
Darbouka (2)
6 Voix et 2 Trombones (2)
2 Basses de Viole et Basse con… (2)
SATB a Cappella (2)
Saxophone ensemble (2)
Choeur SSA Et Percussions (2)
Children choir, Instruments (2)
Section Rythmique (Piano, Guit… (2)
Guitare, Saxophone, Clarinette… (2)
Choeur SAM, (Instruments) (2)
3 Chanteurs Et Petit Ensemble … (2)
Soprano et Ensemble (2)
Percussion (band part) (2)
Guitare (Fingerpick) (2)
Choeur Unison (2)
Chamber Music (2)
2 Recorders, Piano (2)
Solistes SA (SAM) et Orgue (2 … (2)
Choeur SAM et Maître de Chape… (2)
CLT/ORCH::Clarinette, Orchestr… (2)
Choeur SAM, Paroisse, 2 Violon… (2)
Piano (band part) (2)
Soprano (2)
3 Flûtes à Bec Alto (2)
Flûte Traversière ou Hautboi… (2)
Solistes, Choeur, Quatuor A Co… (2)
Flûte à Bec et Percussions (2)
Clarinet, Orchestra (2)
Choeur et Ensemble Mixte (2)
Snare drums, Piano (2)
Voix Mixtes (2)
Piccolo, Piano (2)
Paroisse, Choeur SAM et Vents … (2)
2 Saxophones Soprano (2)
Harpsichord and Strings (2)
Electric Bass (band part) (2)
Choeur SAM, Paroisse, 2 Trompe… (2)
Solo M et Choeur SAM (2)
E Flat Instruments (2)
Concert Band / Harmonie (2)
Mallet Percussions (2)
Chant et Basse Continue (2)
Livres (2)
Piano (Accompagnement) (2)
Viola and orchestra (2)
3 Flûtes à Bec et Percussion… (2)
SSMezTB et Clarinette Basse (2)
2 Flutes, Piano (2)
2 Percussions (2)
Voice, melodic lines, and Guit… (2)
Instruments Cuivre (2)
Trombone et Basse Continue (2)
Choeur SSAM, 3 Trompettes et 2… (2)
Flûte de Pan et Brass Band (2)
CLT/VLN/VLC/PERC/ELEC::Clarine… (2)
Bongos (2)
Bouzouki (2)
Choeur SAM, Flûte à Bec C2, … (2)
Chorale (2)
7 Percussions (2)
Orgue Et Musique De Chambre (2)
SingSt, Klavier (2)
Piano et Clavier (2)
Soprano Saxophone (2)
Voice Mezzo-Soprano, Orchestra… (2)
7 Instrumentistes, Partition D… (2)
Singstimme (2)
1 ou 2 Violoncelles et Piano (2)
Marimba (2)
Trompette ou Tuba et Concert B… (2)
Piano et Orchestre à Cordes (2)
Double Choeur à 8 Voix (SSAA … (2)
2 Xylophones and 2 Marimbas (2)
2 Saxophones, Piano (2)
Violon II (2)
3 Trompettes Et 3 Trombones (2)
Recorder Ensemble (2)
Ensemble Flexible (2)
SOP/CLT/STR QUARTET::Soprano, … (2)
4 Percussions (2)
Choeur (Unisson Ou Voix Aigues… (2)
Violin, Guitar (duet) (2)
Orateur et 31 Instrument, Part… (2)
Soli and Orchestra (2)
Set de Cordes (2)
Choeur SAM (SATB), Paroisse, 3… (2)
Viola Seule, Gr. Flûte, Hautb… (2)
Tiefe Singstimme und Klavier (2)
Choeur SAM, Gem, Vents ou Orgu… (2)
Recorder, Piano (2)
2 Cellos, Piano (2)
Percussions et Concert Band ou… (2)
Tenor voice (2)
Drum (band part) (2)
2 ou 3 Flûtes à Bec Alto (2)
Clarinet, Bassoon (duet) (2)
Baryton (2)
Choeur SAM, 2 Flûtes à Bec (… (2)
Violin, Organ (2)
Lute (2)
3 Trompettes et Concert Band o… (2)
Cornet et Brass Band (2)
Guitar and String Quintet (2)
Guitar (band part) (2)
Saxophone Alto, Saxophone Sopr… (2)
Choeur SAM, 3 Trompettes et 2 … (2)
Tuba (band part) (2)
Chœur Mixte [SATB] a Capella (2)
Saxophone et Concert Band ou H… (2)
Viola, Organ (2)
Piano, Guitar (duet) (2)
Flûte à Bec Ténor (2)
Choeur SAM - SATB (2)
Voix Haute (2)
SOP/CLT/VLA/VLC/DB::Soprano, C… (2)
Chœur d'Hommes [TTBB/TTBB] et… (2)
Melody line, Piano (2)
Saxophone Alto ou Ténor (2)
VLN/SSAX/PFC::Violin/Soprano S… (2)
Violin, Viola (duet) (2)
Choeur SAM, 1 ou 2 Melinstr et… (2)
Choeur SAM à SATB (2)
3 Accordéons (2)
Ténor, Alto ou Baryton et Orc… (2)
Guitare Electrique (2)
2 Parties Voix Aigues (SS) Et … (2)
Tenor, Choeur Mixte Et Orchest… (2)
Choeurs et Orchestre D'Harmoni… (2)
French horn (band part) (2)
4 Parties Mixtes (2)
Medium Voice (2)
2-3 Blockflöten (Sopran, Alt… (2)
Horn Ensemble (2)
Choeur SAM ou STT (1)
Saxophone Soprano ou Ténor, O… (1)
2 Clarinettes Ou 2 Trompettes … (1)
Blechbläser (1)
Violoncelle (Partie Séparée)… (1)
Melody instruments (1)
Soprano Dramatique (1)
Voix Moyenne (1)
Trompette (Et Piano Ad Libitur… (1)
1-2 Saxophones (1)
5 Solistes, 2 Choeurs Et 2 Orc… (1)
Trombone ou Baryton ou Tuba ou… (1)
2 à 4 Guitares (1)
M/SATB/STR QUARTET::Mezzo-Sopr… (1)
Choeur Mixte (ATB) Ou Choeur D… (1)
A Cappella (1)
Octuor De Cuivres Et Timbales (1)
Orchestre A Cordes, Flûtes Tr… (1)
Brass Quartet: 4 trumpets (1)
Choeur SAM, Instruments Mélod… (1)
Guitar and Bass Tablatures, Ch… (1)
2 Parties Mixtes Et Piano (1)
Solistes SATB, Choeur SATB, Ha… (1)
Choeur SA (SAM) et Orgue (1)
Choeur SAM et Paroisse (1)
Soprano, Alto, Chœur Mixte SA… (1)
Choeur Mixte, Orgue et Instrum… (1)
2 Organs (duet) (1)
Trompette (Cornet) Et Piano (1)
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Samuel Barber: Adagio For Strings Opus 11: Violin: Instrumental Work
Violin and Piano
Schirmer
Adagio is a Samuel Barber piece arranged for Violin and Piano by Jerry Lanning. ...
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Adagio is a Samuel Barber piece arranged for Violin and Piano by Jerry Lanning. It contains both score and part. This is a solo work of Barber's popular Adagio for Strings.
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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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Samuel Dushkin Repertoire
Violin and Piano
Schott
Samuel Dushkin (1891-1976), conseiller, partenaire duo et ami de Igor Stravinsky...
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Samuel Dushkin (1891-1976), conseiller, partenaire duo et ami de Igor Stravinsky, a écrit plusieurs transcriptions pour son instrument, le violon, de mélodies puis bien connues et populaires de oeuvres de Stravinski, évidemment, mais aussi d'autres compositeurs tels que b / Violon Et Piano
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Transcription Of An Old Welsh Air (SAMMONS ALBERT)
Violin and Piano
[Sheet music]
Boosey and Hawkes
The Faithful Bird. Par SAMMONS ALBERT. The Faithful Bird/ Répertoire / Violon e...
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The Faithful Bird. Par SAMMONS ALBERT. The Faithful Bird/ Répertoire / Violon et Piano
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Exile Op. 2
Français
Violin and Piano
[Sheet music]
Leduc, Alphonse
La référence AL02269 de l'éditeur Leduc dont l'auteur célèbre est Samie, qu...
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La référence AL02269 de l'éditeur Leduc dont l'auteur célèbre est Samie, qui a pour titre Exile Op2, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition
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Sonate Violon/Piano (SAMAZEUILH)
Violin and Piano
[Sheet music]
Durand
Par SAMAZEUILH. / Répertoire / Violon et Piano
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Wolfgang Amadeus Mozart: Violin Concerto No.3 In G KV216: Violin: Instrumental
Violin and Piano
Hal Leonard
Revised with Cadenzas by Sam Franko. With separate pull-out Violin part.
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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: Sonatas In F Minor And E-Flat For Violin: Violin: Instrumental
Violin and Piano
Barenreiter
for Violin and Piano-Brahms had already announced his ?retirement? from composit...
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for Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of 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 the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and
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Igor Stravinsky: Suite Italienne: Violin: Instrumental Work
Violin and Piano
Boosey and Hawkes
from Pulcinella-Igor Stravinsky's Suite Italienne arranged for violin and piano ...
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from Pulcinella-Igor Stravinsky's Suite Italienne arranged for violin and piano by the composer and Samuel Dushkin. The Suite is made up of 6 attractive movements - written in Stravinsky's Neoclassical style of composition. It is suitable for advanced players.Many string players will be familiar with 'Suite Italienne' which Stravinsky wrote in collaboration with leading performers of the time. This version was arranged for violin by the composer himself in collaboration with Samuel Dushkin in 1933.
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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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Eta Cohen Violin Method Book 4 Student's Book - Violin
Violin and Piano
Novello & Co Ltd.
Description The 2nd, 4th and 5th positions are introduced, also trills, doubl...
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Description The 2nd, 4th and 5th positions are introduced, also trills, double stopping, chords, spiccato and sautille bowings. Each new technique is demonstrated in a short study. The difficulties of each hand are isolated and only one point intouduced at a time. A separate piano accompaniment section is included within this volume. Songlist Arioso Bagpipes Berceuse Bourree Canto Amoroso Chanson De Matin Chant Sans Paroles Gavotte Green Our Fields Once More Are Growing Mazurka Melodie Minuet From Samson Nancy's Fancy Passing By Plaisir D'amour Romantic Pieces Saraband Schlummerlied Solveig's Song To A Wild Rose Traumerei Waltz
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Maria Theresia Von Paradis: Sicilienne: Violin: Instrumental Work
Violin and Piano
Schott
Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria The...
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Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria Theresia Von Paradis' Sicilienne is the most famous of her works. Dushkin later claimed that he had discovered this piece as a keyboard work and had recast it for violin and piano but it is fairly certain that the piece was in fact composed by Dushkin. However the doubtful parentage of the piece had never dampened its popularity and it is still widely used today. Arranged for Violin or Cello with Piano accompaniment.
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Johannes Brahms: Concert D Op.77: Violin: Instrumental Work
Violin and Piano
[Reduction]
Barenreiter
Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has rem...
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Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale
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Souvenir D'Un Lieu Cher (Violin And Piano) (TCHAIKOVSKI PIOTR ILITCH)
Violin and Piano
[Sheet music]
Faber Music Limited
Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place)...
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Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place) is a collection of three pieces for violin and piano. The first - Méditation - was written in Clarens in Switzerland in March 1878. Tchaikovsky originally intended it to be the slow movement of his violin concerto, but later replaced it with the more substantial Canzonetta and recast it for violin and piano. The other two movements were composed in May of the same year on the estate of his benefactress, Nadeja von Meck at Brailovo in Ukraine which is the 'dear place' of the title. It was published in in May 1879. The work is very characteristic of Tchaikovsky's style. It is built on beautiful melodies, with a Russian folk inflection, and contains a variety of contrasting sections. The outer movements are written in a gentle lyrical style, whereas the scherzo is fast and furious creating a mood of stormy anger. The trio section is based on a simple melody with a tinge of sadness about it. The solo part exemplifies Tchaikovsky's mastery of violin writing, using as it does a wide range of timbres and effects. / Répertoire / Violon et Piano
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Sonata No 2 for Violin and Piano (SAINT-SAENS CAMILLE)
Violin and Piano
[Sheet music]
Barenreiter
In E-flat major Op.102. Par SAINT-SAENS CAMILLE. The second half of the 19th cen...
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In E-flat major Op.102. Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.2 was written in 1896 during a stay of several months by the composer in Egypt: he began the main themes of all four movements as well as the canonic trio in Luxor and Aswan. The sonata was then completed on the Nile journey back to Cairo. That same year the sonata was premiered by Saint-Saëns and Pablo Sarasate in a concert celebrating the composer?s fiftieth stage anniversary. Astoundingly, he had first appeared on stage when he was only ten years old. This performing edition edited by Fabien Guilloux and François de Médicis is based on ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4. It reflects the most up-to-date state of research on this work which the edition presents in a spacious engraving. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-08/ Répertoire / Violon et Piano
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Dvorak - Violin Concerto Op.53 - Violon and Piano
Violin and Piano
Barenreiter
Dvorák, Antonín Concerto for Violin and Orchestra A minor op. 53 Edition no. B...
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Dvorák, Antonín Concerto for Violin and Orchestra A minor op. 53 Edition no. BA 10422-90 ISMN 9790260107687 Editor Cividini, Iacopo Dvorák?s Violin Concerto was composed between 1879 and 1882, with the active assistance of Joseph Joachim, and was issued by the publisher Fritz Simrock, Berlin in 1883. Its premiere took place in October of that same year with Franti?ek Ondrícek as soloist. This new Urtext edition is based on the first edition (score, solo violin part, piano reduction and orchestral parts). It also takes Dvorák?s autograph which served as a master copy for the engraving into consideration. A fresh assessment of Dvorák?s manuscript made it possible to reconstruct several variants ignored in the first and subsequent editions and to clarify ambiguities in the notation and articulation. An important component of our Urtext edition is the original piano reduction, which probably stems from Dvorák himself, and in which Joseph Joachim?s fingering is published. ? First Urtext edition of the original piano reduction ? Variants in the solo part rendered as ossia passages ? Foreword on the work?s genesis (Ger/Cz/Eng) and detailed Critical Commentary (Eng) by the editor
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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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Igor Stravinsky: The Stravinsky Violin Collection: Violin: Instrumental Work
Violin and Piano
[Score and Parts]
Boosey and Hawkes
9 Pieces For Violin And Piano-Disponible pour la première fois en un volume ce...
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9 Pieces For Violin And Piano-Disponible pour la première fois en un volume cette collection renferme outre les arrangements pour violon et piano par le violoniste Samuel Dushkin d'extraits de ballets et d'opéras de Stravinsky une pièce pour violon seul et une oeuvre originale de Stravinsky pour violon et piano le Duo concertante.
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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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Sarabanda (RESPIGHI OTTORINO)
Violin and Piano
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Intermediate
Schott
Edizione critica per Emy Bernecoli e Elia Andrea Corazza. Par RESPIGHI OTTORINO....
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Edizione critica per Emy Bernecoli e Elia Andrea Corazza. Par RESPIGHI OTTORINO. The Sarabanda for violin and piano (P015a) is a short composition consisting of three pages dated 1897, published here for the first time. The original manuscript is part of the private archive of Potito Pedarra, cataloguer of Ottorino Respighi’s compositional legacy. Ottorino Respighi composed this work during his youth in the same year as the Sonata in D minor (1897, P015), Giga (P015b) and Allegretto vivace (P015c), all scored for violin and piano. In 1898, Respighi transposed the Sarabanda to F major in order to incorporate it into the Suite per pianoforte (P022, unedited). Traces of the Sarabanda’s theme are recognizable in the Grave (Tempo di Sarabanda) of the second part of the unedited ballet Le Astuzie di Colombina (Scherzo veneziano), composed in 1920 (P130, unedited). The autograph manuscript of the Sarabanda for violin and piano has a number of posthumous markings which have not been included in this edition. / Niveau : 3 / Classique / Répertoire / Violon et Piano
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Edward Gregson: Serenata Notturna: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Novello & Co Ltd.
Serenata Notturna by Edward Gregson was first performed by Helena Smart (violin)...
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Serenata Notturna by Edward Gregson was first performed by Helena Smart (violin) and Caroline Jaya-Ratnam (piano) at the String Final of BBC Young Musicians 2000 Royal Northem College of Music Manchester 23 February 2000.'As the title suggests my Serenata Notturna evokes the atmosphere of night music. Following a reflective opening where the pitch development outlines a twelve-note series the music gradually becomes more agitated developing into a kind of danse macabre eventually reaching a powerful climax. The music then subsides into a much more tranquil atmosphere and the previous dissonant material transposes itself into a simple melody(like a lullaby) uttered by the violin the outline of which both melodically and in terms of the accompaniment figuration has already been present in the piece since the beginning. Thus the turmoil of the first part of the work becomes transfigured into something much more peaceful - hence the quotation that prefaces the score: ?out of darkness cometh light?. After I finished the work it became apparent to me that it might become the sketch for the slow movement of a Violin Concerto on which I had just begun working. It did indeed form the basis of that slow movement and the concerto was premiered by Lyn Fletcher and the Halle Orchestra conducted by Kent Nagano at Bridgewater Hall Manchester in February 2000 the same month as Serenata Notturna itself was first played in public.'Edward Gregson
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