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Tea for Two
Violin and Piano
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Play Jazztime (HUWS JONES EDWARD)
Violin and Piano
[Sheet music]
Faber Music Limited
Par HUWS JONES EDWARD. Play Jazztime presents a selection of world-famous hits f...
(+)
Par HUWS JONES EDWARD. Play Jazztime presents a selection of world-famous hits from this brilliant, brittle era- from the seductive melodies of Arlen to the archetypal Twenties hits Charleston and Five foot two, eyes of blue. Relive the age of Gatsby- and Play Jazztime! / Instrumental Music / Recueil / Violon et Piano
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Sonata Movement For Violin And Piano C Minor Woo 2
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano A Major Op. 100
Violin and Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano D Minor Op. 108
Violin and Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
(+)
The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Bartók For Violin
Violin and Piano
[Sheet music + CD]
-
Intermediate
Boosey and Hawkes
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements o...
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The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Violin features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for violin with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Violon Et Piano
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Violin Recital Album, Vol.2
Violin and Piano
-
Easy
Barenreiter
These two collections (BA 9668, BA 9669) give young students and teachers a rich...
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These two collections (BA 9668, BA 9669) give young students and teachers a rich selection of recital pieces, either to complement the Sassmannshaus 'Early Start on the Violin? method or to play independently from it. As all the pieces are written entirely in first position, they can be used after just a few months of lessons.The piano part may be played by the teacher or an advanced student. As an alternative, the accompaniment can be played by a second violin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes, folksongs but also less well-known gems, as well as original pieces by the editors, all precisely tailored to meet the needs of young students.- New recital pieces for the tried and trusted Sassmannshaus violin method- All pieces written in first position- With a second violin part for duet performance- Available in freely accessible recordings on YouTubeKurt Sassmannshaus, the editor of a great many string editions in the Bärenreiter catalogue, continues the tradition founded by his father Egon Sassmannshaus in the 'Early Start? string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the cello. / Violon
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Wizard's Potion - Sheet Music And Free Sampler Books For String Teachers Available On Request
Deutsch
Violin and Piano
[Sheet music + CD]
Peters
16 Spooky morceaux à jouer et à chanter. des catégories 1 et 2 Hoojum, Boojum...
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16 Spooky morceaux à jouer et à chanter. des catégories 1 et 2 Hoojum, Boojum, higgery perruquier, assistants United ! et Trick, traiter ou Tango - quelques-unes des pièces captivante de la magique de nouveaux livres sorcières ' Brew et Potion de l'Assistant. Le mélange novateur de tunes rythmiques, rhymes descriptives et accompagnements jazzy passionnantes sont définies pour capturer l'imagination de tous les débutants. Chaque livre and CD contient: - enseignement points - formation rythmique - suggestions pour la pratique - superbes graphiques - fun et paroles utiles - varié et inspirant tunes. Enfants vont être ensorcelés par la sorcellerie visuel et musical contenue dans les sorcières ' Brew et Potion de l'Assistant livre suivi. Contes de sorcières et des assistants ont enthr MAREN1 les enfants et les adultes pendant des siècles et ont inspiré un travail remarquable des auteurs, des compositeurs et des illustrateurs. / Violon Etudes
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Cigany Konnyek (Gypsy Tears) (REGISTER P)
Violin and Piano
Alry Publications
Par REGISTER P. BRENT. Cigány Könnyek (Gypsy Tears) by P. Brent Register is a ...
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Par REGISTER P. BRENT. Cigány Könnyek (Gypsy Tears) by P. Brent Register is a work in two parts for violin and piano. The opening section, free and almost improvisatory, leads to a rhythmically charged and vibrant dance in 5/8 time./ Répertoire / Violon et Piano
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My First Concert
Violin and Piano
Schott
The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for...
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The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons, first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs - from the Renaissance era via the Baroque, Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music, including motivating pieces from the areas of pop music, jazz, spiritual, bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already - all pieces are in the first position and can be played in the four fingering patterns. To two compositions requiring position playing, an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. / Violon Et Piano
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Carse: Adam: Classic Carse. Book 2 For Violin And Piano (CARSE ADAM)
Violin and Piano
[Sheet music]
Stainer and Bell
Par CARSE ADAM. Chant de l'escarpolette Dance Scherzo Gavotte Menuet Capricieux ...
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Par CARSE ADAM. Chant de l'escarpolette Dance Scherzo Gavotte Menuet Capricieux Prelude Rigaudon Teacher and editor Mary Cohen has compiled a two-volume selection of violin music by Adam Carse, covering the elementary and intermediate grades. Carse wrote exquisite miniatures in the tradition of Kreisler and Elgar. Mary Cohen has updated technical details, while leaving intact the imperishable musical value of Carse's work. Classic Carse, Book 2, is set for the Trinity College examinations, Grade 5/6. Book 1 can be found in the Elementary section Ref. H354./ Répertoire / Violon et Piano
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Chant Hébraïque (CASTELNUOVO-TEDESCO MARIO)
Violin and Piano
Leduc, Alphonse
Par CASTELNUOVO-TEDESCO MARIO. Born into a family that had lived in Florence si...
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Par CASTELNUOVO-TEDESCO MARIO. Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers' place of worship. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what ' Jewish music” could be. It would take until the death of his maternal grandfather, and the discovery of a collection of prayers set to music among his papers, for the young Castelnuovo-Tedesco to begin to explore Jewish music. In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E tudes published by Leduc. The piece became so popular that it led to several adaptations, and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections, the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a ' Wailing Wall”, Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk, ' lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note./ Répertoire / Violon et Piano
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Concertino G Major, Op. 11
Violin and Piano
Schott
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th c...
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Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century, due, in large part, to his popular violin method. His Concertino remains a popular entry-level piece for students to this day.The piece is characterized by simplicity, clarity and beauty. The themes and melodies are easily identifiable by children, yet never trite and plain. They are catchy and perfectly reflect Küchler's educational ideology - 'to always separate the difficulties and never demand that the pupil overcome two difficulties at once?. The work is also available in an arrangement for solo violin with string quartet accompaniment (with double-bass ad lib.)(Schott, SE 1002). The viola part can be replaced by a third violin if necessary. By using the parts for multiple players, this can also be performed by a beginner string orchestra.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasure:Accompanying tracks of the pieces available as downloads / Violon Et Piano
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Violin Recital Album, Vol.1
Violin and Piano
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Easy
Barenreiter
These two collections (BA 9668, BA 9669) give young students and teachers a rich...
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These two collections (BA 9668, BA 9669) give young students and teachers a rich selection of recital pieces, either to complement the Sassmannshaus 'Early Start on the Violin? method or to play independently from it. As all the pieces are written entirely in first position, they can be used after just a few months of lessons.The piano part may be played by the teacher or an advanced student. As an alternative, the accompaniment can be played by a second violin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes, folksongs but also less well-known gems, as well as original pieces by the editors, all precisely tailored to meet the needs of young students.- New recital pieces for the tried and trusted Sassmannshaus violin method- All pieces written in first position- With a second violin part for duet performance- Available in freely accessible recordings on YouTubeKurt Sassmannshaus, the editor of a great many string editions in the Bärenreiter catalogue, continues the tradition founded by his father Egon Sassmannshaus in the 'Early Start? string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the cello. / Violon Et Piano
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The Infant Paganini
Violin and Piano
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Easy
Barenreiter
Born in Erfurt, the composer Edward Mollenhauer (1827-1914) achieved success in ...
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Born in Erfurt, the composer Edward Mollenhauer (1827-1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are 'The Infant Paganini? and 'The Boy Paganini?.Both appear here in their original version for violin and piano and, for the first time, in a transcription for cello and piano by Christoph Sassmannshaus.The Mollenhauer fantasia 'The Infant Paganini? is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché, legato, spiccato and arpeggios over three strings. Players are also expected to play harmonics and pizzicato.This showpiece (BA 10691) can be accomplished by young violinists who can play in first to third position and who are nearing completion of the Sassmannshaus Early Start on the Violin, volume 4.It (BA 10693) can be equally mastered by young cello students who are working with volume 4 of the Sassmannshaus 'Early Start on the Cello? and can manage first to fourth position.'The Boy Paganini? is an impressive concert piece which is more demanding. Its two movements call for changes of metre, harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves.On the violin (BA 10692), the technical requirements call for first to fifth position whereas on the cello (BA 10694), the student must be able to play in first to fourth position.Both violinists and cellists should have completed volume 4 of 'Early Start on the Violin? and 'Early Start on the Cello? respectively in order to master this work. - Popular recital pieces for young violinists and cellists- Both works form an ideal continuation of the Sassmannshaus 'Early Start? methods- Pieces originally scored for violin now also available for the first time for cello / Violon Et Piano
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Sonata Op. 40 (CALLIGARIS SERGIO)
Violin and Piano
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Intermediate
Ricordi
Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in R...
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Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Violon et Piano
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