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Violin and Piano
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wi...
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2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.
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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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Jean Sibelius: Humoresque IV Op. 89b: Violin: Instrumental Work
Violin and Piano
[Sheet music]
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Intermediate/advanced
Wilhelm Hansen
Among the best of Jean Sibelius’ oeuvre are his 1917 compositions the Hu...
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Among the best of Jean Sibelius’ oeuvre are his 1917 compositions the Humoresques. This fabulous and charming concerto was divided into two groups for publication Opus 87 and Opus 89 and demonstrates his sublime skill with the Violin. He used a considerably smaller Orchestra accompaniment to the Violin in the second group but maintained the subtlety of depth and texture. Though there are traditional elements to all parts of this opus Humoresque No. 4 harks back to the past the most reminiscent of the delicacy of mid-nineteenth century musical miniatures. Virtuosic and challenging the soloist has the opportunity to indulge in a more traditionallyexhibitionistic display. This work features a seperate Violin part with a Piano reduction of the String Orchestra by Karl Ekman.
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Joaquín Turina: El Poema De Una Sanluquena: Violin: Instrumental Work
Español
Violin and Piano
[Sheet music]
Unión Musical Ediciones
In the relatively sparse Spanish repertoire for Piano and Violin El Poema De Un...
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In the relatively sparse Spanish repertoire for Piano and Violin El Poema De Una Sanluqueña is considered by many a key work of 20th century Spanish chamber music. Turina was a frequent visitor to the seaside town of Sanlúcar in his youth and his love for the town shines through in these four movements. The work Is dedicated to the ?muchachas? the girls of Sanlúcar who it is said ?don?t get married? because the boys of Sanlúcar marry outsiders. Turina wrote the work for ?those beautiful Andalusian girls living in a sad and never-ending dream.? Unlike earlier works of Turina this one was not descriptive but rather suggestive of an emotional state. The piece requires thegreatest technical expertise of both Violinist and pianist as well as sensitivity and humour. Joaquin Turina is often contrasted with Albéniz and Granados those two proponents of a Spanish national style. Turina strove to write music of a European standard in the conventional major forms. In his work it is possible to hear the influence of Turina?s years studying in Paris as well as his native Spain combined with the composer?s own unique Voice.
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Sonatina Op. 35A (HUMMEL BERTOLD)
Violin and Piano
Simrock
Par HUMMEL BERTOLD. As an educational and recital piece, Bertold Hummel's Sonati...
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Par HUMMEL BERTOLD. As an educational and recital piece, Bertold Hummel's Sonatina Op. 35, composed in 1969, has accompanied many a young musician following his or her own path. Having sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. The three movements are characterized by warmth and exciting rhythms: in the powerful Maestoso, the sonority of the main theme is contrasted with a lyrical side theme - the recapitulation ends with an impulsive Fugato. The second movement Elegie consists of a single soulful melody over spherical harmonies of the piano. As a highlight, playful ease, marching rhythms and dramatic intensifications alternate in quick succession in the Finale vivace, followed by wild arpeggios that conclude the piece. Originally composed for violin, versions for viola and violoncello were already commonly used. To mark its 50th birthday, Simrock / Boosey and Hawkes present the work in a revised, newly set edition. Written in the 1990s by the composer himself and now available for the first time, the versions for alto and tenor saxophone are valuable additions to the repertoire for beginning instrumentalists./ Répertoire / Violon et Piano
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Cyril Scott: Violin Sonata No.3 (Violin And Piano): Violin: Score and Parts
Violin and Piano
[Sheet music]
Novello & Co Ltd.
Merseyside composer writer and poet Cyril Scott composed this work in 1955. Ove...
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Merseyside composer writer and poet Cyril Scott composed this work in 1955. Over 30 years after his death his music is coming into favour and this along with many others are finally being put to wax by Naxos/Chandros.
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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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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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Wolfgang Amadeus Mozart: Violin Sonatas - Fragments: Violin: Instrumental Album
Violin and Piano
G. Henle
Violin Sonatas Fragments-This Urtext edition contains rewarding discoveries for...
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Violin Sonatas Fragments-This Urtext edition contains rewarding discoveries for all lovers of Mozart.Mozart left behind a total of eight unfinished works for Piano and Violin predominantly discontinued sonata movements. Themusic is so wonderful that Henle have published a separate volume with this group of works all of which (aside from a fragment in the appendix of this edition) have been completed so that they can be performed.They notonly include the familiar completed versions by Maximilian Stadler but also new ones by Robert D. Levin. He has contributed five each of which is full of Mozartian spirit. A preface with a critical report presents the facts indetail and incorporates the most recent scholarly findings. Benjamin Schmid and Ariane Haering have provided fingerings for this edition that is in every sense unique.
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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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The Art of the Bow (TARTINI GIUSEPPE)
Violin and Piano
[Sheet music]
Hal Leonard
Variations on a Theme of Corelli for Violin and Piano. Par TARTINI GIUSEPPE. Als...
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Variations on a Theme of Corelli for Violin and Piano. Par TARTINI GIUSEPPE. Also known as Variations on a Theme of Corelli, The Art of the Bow is widely considered the first great method for violin. Aside from being invaluable to the development of technique, the variations which include piano accompaniment also serve as rich and rewarding solo material for recitals. This edition by Heifetz protege, Endre Granat, is based on comparison of the first three published editions and features meticulous attention to the details of bowing and fingering. Included in the publication is a letter from Tartini to his then 14-year-old violin student, Maddalena Lombardini, detailing an important lesson to violin performers which contains examples from this very imaginitive and musical set of variations. / Date parution : 2021-11-03/ 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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Edvard Grieg: Sonata in G major op. 13: Violin: Score and Part
Violin and Piano
G. Henle
Of Grieg?s three Violin sonatas the great C-minor Sonata op. 45 is the best kno...
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Of Grieg?s three Violin sonatas the great C-minor Sonata op. 45 is the best known today. And unjustly so because the two early sonatas are captivating in their joy to play and their fresh youthful tone. And what is more they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867 the G-major Violin Sonata op. 13 palpably draws on Grieg?s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional ?jumping dance.? Aside from the second print edition of 1887 revised by Grieg himself the autograph manuscript in Stockholm wasalso consulted for this edition thus offering an optimally ascertained musical text.
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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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Violin Concerto op. 25 (SAY FAZIL)
Violin and Piano
Schott
1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four mo...
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1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four movements whose inspiration is loosely connected with Scheherazade’s One Thousand and One Nights. The first movement is set inside the harem; a variety of women from the harem are introduced, each with her own different personality. The second movement is a frenzy of dance – in effect a party night with an abundance of different types of dance music. The third movement depicts the next morning and consists primarily of variations on a well-known Turkish song. The fourth movement begins dramatically, but develops during the course of the movement more and more into a reminiscence of all the previous events and the work culminates dreamily in a happy mood with sensuous oriental sounds. As appropriate for an oriental soundscape, the orchestra includes a series of Turkish percussion instruments such as a kudüm or bendir, but also glockenspiel, marimba und vibraphone, celesta and harp. It is however the solo violin which tells the story and also accompanies the listener through the entire work. The violin part is highly virtuoso and unites the four movements into an intensely atmospheric whole in which the solo violin soars off into a solo cadenza between each movement, sometimes accompanied by one of the percussion instruments. As is customary, the present piano reduction is initially intended as an aid for the study of this work, but during my tour programmes with Patricia Kopatchinskaya and Burhan Öçal we have utilised this material to create a trio version for violin, piano and percussion.' Fazil Say/ Répertoire / Violon et Piano
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Johann Christian Bach: Concerto en ut mineur: Violin and Accomp.: Instrumental
Violin and Piano
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Intermediate
Salabert
Henri Casadesus was passionate about early instruments, as we know from a number...
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Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d?amore, the subject of a manual he wrote entitled Tecnique de la viole d?amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called ?original? part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the ?original? version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.
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Easy Concert Pieces Band 1: Violin: Instrumental Album
Violin and Piano
[Sheet music + CD]
Schott
Easy Concert Pieces-For use in lessons or for your first concert performances ...
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Easy Concert Pieces-For use in lessons or for your first concert performances Easy Concert Pieces for Violin and Piano contains easy and well-known solo pieces from the Renaissance to the modern era carefully selected according to technical and musical demands: Volume 1 EasyAll the pieces can be played in first position. Besides original compositions by Milán Purcell Corelli Duval or Telemann there are readily playable arrangements of classical masterpieces such as Vivaldi?s Four Seasons Handel?s Firework Music or Mozart?s Magic Flute and modern compositions from the world of pop jazz spirituals Bossa Nova and tango. Recordings andbacking tracks for all the pieces are included on the accompanying CD.
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Martin Suckling: Three Venus Haiku: Violin: Score
Violin and Piano
Faber Music Limited
These three exquisite miniatures ? composed in 2009 and lasting a total of 5 min...
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These three exquisite miniatures ? composed in 2009 and lasting a total of 5 minutes ? are responses to the poetry of George Bruce. In the first Soloist and Piano are fused together as a single instrument as if singing from a great distance. Suckling describes the following movements as ?inside a beam of light? and ?a never-ending lullaby?. Three Venus Haiku exist in versions for a number of different solo instruments with Piano and this edition is intended for either Flute or Violin.
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First Book of Classical Violin: Violin: Instrumental Album
Violin and Piano
[Sheet music + Audio access]
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Easy
Ricordi
100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. Level: Beginn...
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100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. Level: Beginner The First Book of Classical Violin offers a selection of 100 melodies from classic repertoire, the result of Andrea Cappellari's many years of research and experience in music teaching. Students of any age will be able to perform melodies by classical composers from the very first lessons. All 100 short melodies consist of a minimum of three and a maximum of eight notes. Only basic rhythmic note values are used, from the eighth note to the whole note. The pieces are presented in progressive order of difficulty, and are in the most appropriate keys for the instrument. The simple piano accompaniments encourage ensemble playing at a beginner level and the recorded piano accompaniments are an excellent tool for practicing. A few selected melodies also have a second violin part as part of the recorded accompaniment. The book also includes a separate instrumental pull-out part. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
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Popular Movie Hits: Instrumental Album
Violin and Piano
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Intermediate
Barenreiter
George Speckert?s edition presents film themes in easy attractive arrangements f...
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George Speckert?s edition presents film themes in easy attractive arrangements for violin and piano.Besides top titles by Hans Zimmer Lalo Shifrin and Harold Arlen the volume includes classical themes that have gained popularity through their use in films for example Johannes Brahms? Hungarian Dance memorably used in ?The Great Dictator? as well as Johann Strauss? ?The Blue Danube? used in ?2001 A Space Odyssey?. Less well-known is the fact that Walt Disney was praised for his masterly use of classical music in one of his first full-length films ?Fantasia? and that Stanley Kubrick also used great classical works very effectively in practically all his films. Themelodies in this edition are easy to sight-read and are certainly fun to play.From the contentsMelodies from ?Mission Impossible? ?The Fifth Element? ?Pirates of the Caribbean? ?Fantasia? ?2001 A Space Odyssey? ?The Great Dictator? and othersThe arrangerGeorge Speckert is renowned for his arrangements and compositions for numerous Bärenreiter editions. He is a composer author and teacher for multi-media production as well as e-learning.
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