38 bekannte musikalische Themen. Par HOLZER-RHOMBERG ANDREA. / Date parution : 2022-01-14/ Recueil / Violin et Piano

As a passionate composer organist and ornithologist many of Olivier Messiaen's works incorporate these three elements. However he took a different stance for his Thème et Variations for Violin and Piano composing it as a wedding present for his first wife Claire Delbos in 1932. The couple gave its first performance during the same year. Admitted to the Paris Conservatoire at the mere age of eleven Olivier Messiaen (1908-1992) was an outstanding pupil winning many prizes. Thème et Variations was composed shortly after his appointment as titular organist at the Sainte Trinité church inParis and is often considered to be characteristic of his famous Quatour pour la fin du temps. Made up of a theme and five variations it begins simplistically before entering the complex variations. The theme is composed in common time and at a moderate tempo. Each variation varies in dynamics time signature tempo tonality and rhythm among other elements; however Messiaen cleverly retains suggestions of the theme all throughout. Challenging as it is Thème et Variations is an exciting varied and compelling performance piece for all advanced violinists.

Robert Schumann’s Sonata For Piano And Violin In A Minor Op. 105 (also known as Violin Sonata No. 1) was written in only a few days in September 1851. It consists of three movements 1. Mitleidenschaftlichem Ausdruck (dotted quarter=68) 2. Allegretto (eighth note =96) and 3. Lebhaft (quarter note = 94) with the main theme present in all of them linking the whole sonata together.Thewealth of imagination energy of sentiment and depth of thought in the sonata was acknowledged by Wasielewski fellow musician and Schumann’s first biographer. This publication takes the composer’s personal copy of thescore and the separate Violin part as its principal sources coming as close to the original intentions of Schumann as possible. An editorial preface by Wiltrud Haug-Freienstein is also included in German English andFrench.This Sonata is challenging but rewarding for both Piano and Violin. Total performance time is approximately 18 minutes.

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.

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

6 Sonatas for Piano and Violin op. 10 (b)-Weber composed an incredible array of compositions in his rather short but at the same time tireless life. Many of them have still to be discovered. The Six Violin Sonatas op. 10 (b) composed inDarmstadt in 1810 are most certainly amongst them. The individual movements are rather short and also not particularly difficult technically. The music is on the other hand all the more compelling which is partly due to thevarious integrated dance forms: ?Carattere Espagnuolo? and ?Air Polonais? in Sonata No. 2 ?Air Russe? in No. 3 ?Siciliano? in No. 5 and a ?Polacca? in No. 6.

These pieces were originally written in 1989 for the composer's daughter Lucy to play on the Piano when she was nine years old. Shortly after this he arranged them for Violin and Piano but Lucy never played them choosing instead to play the Cello!

Grade 3-4-A series available as violin duets or violin & piano.Whether a student or a great artist the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician's voice the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing these pieces came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. Thepurpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student's tone production and intonation through his own sound as much can be taught by good example. This music is also available for violin and piano with piano accompaniments written by Heidi Rolfe.Finally I think that children enjoy the challenge of expressing different moods and emotions musically and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel Goldberg.

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.

Composed in 1887 the Romantic Pieces Op.75 were originally intended for two Violins and Viola. Immediately after completing these four short pieces Dvo ák rewrote them for Violin with Piano accompaniment and published the new version that very year. This edition presents the musical text from the Complete Edition of the Works of Anton n Dvo ák with a new foreword by David R. Beveridge.The Violin part contains fingering by Josef Micka.New foreword by Dvo ák scholar David R. Beveridge (Eng/ Cz /Ger).Violin part with fingering.