Aus Preludes I für Violine und Klavier-The first volume of Debussy?s Préludes for Piano (HN 383) was published in 1910 and was soon followed by arrangements for various scorings commissioned by the original publisher. Debussy personally transcribedonly one Prélude Minstrels which was released in 1914 in a version for Violin and Piano.Back at that time ?Minstrels? was the name given to comedians who performed in blackface andcaricatured the alleged behaviour of Blacks in America. The arrangement is of interest not only to pianists since Debussy intervened in the original musical text by adding variants but also to violinists who willdiscover charming and rewarding music of medium difficulty (5 of 9).

Debussy wrote his solitary Violin Sonata in the closing days of his life plagued by the distress of the ongoing Great War financial difficulties and health issues of a terminal cancer. Shortly afterits completion in April the first performance took place on May 5th 1917 with Debussy himself at the Piano. This was the composer?s last public appearance before his death in 1918.The Sonata For Violinand Piano was the third and final composition in a cycle intended to consist of six sonatas for various instruments. It has an overall atmosphere of melancholy while also capturing contradictory characteristics such asjoy and silliness presented in a form closer to a fantasia than a sonata. The three expressive movements (Allegro vivo Intermede and Finale) are written in a French nationalistic spirit withdistinctive influences from Spanish and gypsy music throughout. This ambiguousness and ambivalence in form sound and character all attribute to Debussy?s innovative language of ?musical impressionism? which has become afavourite of musicians and audiences alike.The comments at the end of this Urtext edition provide detailed information on the sources and alternative readings while the preface by François Lesure in German English andFrench gives historical and biographical context. Two copies of the Violin solo are included as separate inserts.

Référence unique par son ISBN 9790044013968 cette partition musique de Debussy Claude n'est autre que ROMANCE VIOLON/PIANO qui a été composée pour Violon Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Durand. La référence catalogue de cette oeuvre est DD01086300. / Violon Et Piano / Partition

Jascha Heifetz published this arrangement of the eponymous early Debussy song in 1935. Debussy likely penned the original vocal version in 1878 while in his mid-teens setting a poem by Paul Bourget. This title is translated Beautiful Evening and the poem continues to describe such an evening then explores the need to relish such experiences in light of the brevity of human life. Though brief the piece is elegant in its lyricism and remains true to the emotion of the text which may be perceived even when one does not hear the words.

Référence unique par son ISBN 9790044014019 cette partition musique de Debussy Claude n'est autre que BRUYERES VIOLON/PIANO qui a été composée pour Violon Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Durand. La référence catalogue de cette oeuvre est DD01086800. / Violon Et Piano / Partition

transcription pour violon et piano-Claude Debussy's La Fille Aux Cheveux Lin arranged by Léon Roques for Violin and Piano.

Référence unique par son ISBN 9790044011490 cette partition musique de Debussy Claude n'est autre que ARABESQUE N 2 VIOLON/PIANO qui a été composée pour Violon Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Durand. La référence catalogue de cette oeuvre est DD00689700. / Violon Et Piano / Partition

transcription pour violon et piano-Claude Debussy's En Bateau an extract from the Petite Suite transcribed for Violin and Piano accompaniment by Gaston Choisnel.

The third volume of the Heifetz Collection is a treasure trove of material for violinists including many items that have never been published before. Jascha Heifetz (1901-1987) remains a landmark among violinists of the twentieth century a performer who virtually redefined the limits of the possible for his chosen instrument. These transcriptions and arrangements made to enrich his repertoire will be a great boon to young virtuosos looking for a challenge. Many of them were provided by the Heifetz family and are published here. Music by Albeniz (Sevilla) Castenuovo-Tedesco (Ritmo di Tango) Debussy ( La chevelure) Fauré (Aubade) Kodaly (Danube-Tisza) Prokofieff(Gavotta Op. 32) among others are included in this handsome collection which is a must purchase for players and lovers of fine violin music.

Description All Time Favourite Violin Solos A choice collection of perennial favourites by such masters as Bach, Brahms, Debussy, Handel, Haydn, Saint-Saens, Schubert, Tchaikovsky and Wagner. Songlist Air [Bach, Johann Sebastian] Aurore [Faure, Gabriel] Barcarolle (Les Contes D'Hoffmann) [Offenbach, Jacques] Beau-soir (Evening Fair) [Debussy, Claude] Canzonetta [Tchaikovsky, Pyotr Ilyich] Hejre Kati [Hubay, Jeno] Kol Nidrei Op. 47 (Hebrew Melody) [Bruch, Max] L'abeille [Schubert, Franz] Largo [Handel, George Frideric] Mazurka [Wienawski, Henryk] Minuet [Boccherini, Luigi] Reverie [Vieuxtemps, Henri] Romance [Wienawski, Henryk] Serenade [Haydn, Franz Joseph] Serenade [Schubert, Franz] Serenata Op.15 No.1 [Moszkowski, Moritz] The Swan (Carnival Of The Animals) [Saint-Saens, Camille] Traume [Wagner, Richard] Walther's Prize-song [Wilhelmj, August] Wiegenlied Op.49 No.4 [Brahms, Johannes]

Armand Merck (Liège 1883 - Meudon 1963) commence des études de cor et d'écriture dans sa ville natale avant de s'établir à Paris pour suivre les cours de Vincent d'Indy à la Schola Cantorum, Auteur de plusieurs opéras (dont Tarass Boulba d'après Gogol), de cycles de mélodies, d'oeuvres symphoniques et d'une abondante production de piano et de musique de chambre, il s'inscrit dans la lignée de l'école post-franckiste, dont l'influence, déclinante après la Grande Guerre, ne s'est pas moins propagée assez loin dans la première partie du XXème siècle, La fidélité à des principes constructivistes que la modernité, dans le sillage de Debussy, semblait avoir définitivement condamnés, fut souvent payée, chez nombre de compositeurs, au prix de la disgrâce, À ce titre, il est remarquable de constater qu'un homme comme Merck, malgré une esthétique délibérément datée, n'en fut pas moins défendu par des musiciens aussi divers que Florent Schmitt, Charles Münch, Georges Auric, Edouard Souberbielle, et même Olivier Messiaen - et on est en droit de penser que sa musique, servie en son temps par des interprètes comme Walter Straham, José Iturbi, Yvonne Astruc, Yvonne Loriod et l'Ensemble Marie-Thérèse Ibos (création du quintette avec piano), ne saurait tomber dans l'oubli,Armand Merck laisse plusieurs pièces pour violon : Une première sonate dédiée à Eugène Ysaÿe, un Poème et un Andante dédié à la violoniste Madeleine Bloy-Souberbielle, fille de Léon Bloy,Alexis Galpérine Collection Le Violon Rouge / Violon Et Piano