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Piano and Orchestra
Violin and Piano
INSTRUMENTS
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ACCORDION
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Concerto For Violin And Orchestra A Minor Bwv 1041
Violin and Piano
[Sheet music]
G. Henle
Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur...
(+)
Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Concerto for Violin and Orchestra a minor BWV 1041 qui a été écrite pourViolon Et Piano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 671. / Violon Et Piano / Partition
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Concerto D Major Op. 61 For Violin And Orchestra
Violin and Piano
G. Henle
Considéré par beaucoup comme le dernier représentant du classicisme viennois,...
(+)
Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Concerto D major op. 61 for Violin and Orchestra pour Violon et plus particulièrement pour Violon Et Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Violon Et Piano / Chanson En Séparée
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Bartok B. - Violin Concerto No.1 Op.posth. - Violin And Orchestra
Violin and Piano
Boosey and Hawkes
Edition : piano reduction with solo part Instrumentation : violin and orchestra ...
(+)
Edition : piano reduction with solo part Instrumentation : violin and orchestra Date of Composition: 1907-8 Duration : 21' Number of Pages : 32
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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...
(+)
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 JĂłzef 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 JĂłzef 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 twĂłrczość. [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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Peter Maxwell Davies: Concerto For Violin And Orchestra: Violin: Instrumental
Violin and Piano
[Sheet music]
Chester
This work was commissioned by the Royal Philharmonic Orchestra to celebrate its ...
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This work was commissioned by the Royal Philharmonic Orchestra to celebrate its 40th birthday and was written for Isaac Stern. The first performance took place in June 1986 at St. Magnus' Cathedral Kirkwall as part of the tenthSt. Magnus Festival. It was given by Isaac Stern and the Royal Philharmonic Orchestra conducted by Andre Previn.This book contains the solo violin part and a piano reduction of the orchestral score.
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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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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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Mario Castelnuovo-Tedesco: Chant HĂ©braĂŻque For Violin And Piano. Sheet Music for Violin Piano Accompaniment
Violin and Piano
[Sheet music]
Leduc, Alphonse
Born into a family that had lived in Florence since the expulsion of the Jews fr...
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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 dĂ©cor 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 youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher AmĂ©dĂ©e-LandĂ©ly Hettich who wanted to include it in the RĂ©pertoire moderne de Vocalises-Études 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.
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Witold Lutoslawski: Lullaby for Anne-Sophie: Violin: Score and Parts
Violin and Piano
Chester
After Chain II for Violin and Orchestra in (1985) and the orchestrated version o...
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After Chain II for Violin and Orchestra in (1985) and the orchestrated version of Partita in (1988) Lullaby For Anne-Sophie for Violin and Piano was the third piece composed by WitoldLutoslawski. Witold Lutolawski was a Polish composer and orchestral conductor. Lutolawski is said to be one of the major European composers of the 20th century.
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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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RĂŞverie Et Caprice (Violin And Piano)
Violin and Piano
Classical guitar
Faber Music Limited
Following the composition of Harold En Italie for Viola and orchestra in 1834, B...
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Following the composition of Harold En Italie for Viola and orchestra in 1834, Berlioz began work on the opera Benvenuto Cellini , which subsequently failed on its first performances at the Paris Opera in 1838. Berlioz withdrew the opera for substantial revision, and from some of the discharged material he later fashioned this Reverie Et Caprice (in versions both for Violin and orchestra and Violin and Piano). Dedicated to Berlioz's violinist friend Alexandre-Joseph Artot, the piece was quickly taken up by several celebrated violinists of the time, including David, Joachim and Wieniawski, and was played all over Europe. This new edition for Violin and Piano, by the musicologist and performer Neil Heyde, is based on the first edition of the score.
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John Corigliano: Concerto For Violin And Orchestra: Violin: Instrumental Work
Violin and Piano
[Sheet music]
Schirmer
John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon ...
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John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon music he composed for the film of the same name which won an Academy Award for best film score. The story spans three centuriesin the life of a magnificent but haunted Violin in its travels through space and time. Corigliano composed this 36-minute concerto in memory of his father the former concertmaster of the New York Philharmonic. For Violin andPiano reduction.
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Wolfgang Amadeus Mozart: Single Movements for Violin and Orchestra: Violin: Part
Violin and Piano
[Reduction]
Barenreiter
Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in...
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Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in B flat K.269; Rondo in C K.373).vn orchPiano reduction(New edition with Cadenzas)
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Camille Saint-Saëns: Danse macabre op. 40: Violin and Accomp.: Instrumental Work
Violin and Piano
Barenreiter
Transcription for Violin and Piano by the Composer. In his symphonic poem ?Danse...
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Transcription for Violin and Piano by the Composer. In his symphonic poem ?Danse macabre? Saint-Saëns takes up a poem by Henri Cazalis that he had already set as an art song. Here the Devil brings the dead to life by playing his violin. Although the orchestral work was given a lukewarm reception in its early performances, or was even rejected, it became highly popular and internationally famous in the years that followed. Of the countless later arrangements and variations (e.g. by Franz Liszt), Saint-Saëns? own version for violin and piano stands out as particularly successful. Céline Drèze?s advance edition for a future volume of the ?Saint-Saëns Complete Edition of the Instrumental Works? is the first modern scholarly edition of this celebrated piece. This Urtext edition draws on the original print of the 1877 version, while eliminating its many misprints and anomalies on the basis of the autograph.
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Bohuslav Martinu: Concerto for Violin and Orchestra no. 2 H 293: Violin:
Violin and Piano
Barenreiter
After hearing the Boston Symphony Orchestra perform Martinu?s Symphony No. 1 in ...
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After hearing the Boston Symphony Orchestra perform Martinu?s Symphony No. 1 in New York Mischa Elman commissioned the composer to write a Violin Concerto for him. Martinu thereupon composed his second Violin Concerto in 1943. That same year Elman played the solo part at the première with Sergei Koussevitzky conducting the Boston Symphony Orchestra.This Piano reduction is based on the musical text of the first edition. The solo part has been revised by a leading Czech violinist and performer of Martinu?s music.Major Violin concerto of the 20th centuryNew Foreword by Martinuscholar Sandra Bergmannová (Cz/Eng/Ger)Performance material available for hire
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Wolfgang Amadeus Mozart: Single Movements For Violin And Orchestra: Violin:
Violin and Piano
[Reduction]
G. Henle
For years Henle has been issuing urtext Piano reductions of Mozart?s works for V...
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For years Henle has been issuing urtext Piano reductions of Mozart?s works for Violin and Orchestra at six-month intervals. Now the time has come for the three Single Movements. These incomparabletreasures of the Violin literature are too well-known to require special praise here. Each solo part appears in an impeccable urtext edition accompanied by cadenzas improvised lead-ins (Eingänge) fingering and bowing marks. ThePiano reduction sounds beautiful and is easy to play or to quote Mozart?s own words 'it comes off as smooth as silk'.
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Maurice Ravel: Tzigane For Violin And Piano: Violin: Score
Violin and Piano
G. Henle
Tzigane for Violin and Piano-Maurice Ravel's Tzigane for Violin and Piano. Urtex...
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Tzigane for Violin and Piano-Maurice Ravel's Tzigane for Violin and Piano. Urtext edition full score.Composed in 1924 there are three versions of this work: with Piano with Orchestra and with Luthéal a device forKeyboard instruments to extend the timbre.?Virtuoso piece in the style of a Hungarian rhapsody? thus reads Ravel?s entry on Tzigane in the so-called 'Autobiographical Sketch'.Tzigane was inspired by the Hungarian-English violinist Jelly d?Aranyi to whom Ravel had already promised a virtuoso piece in 1922 following Franz Liszt?s ?Hungarian Rhapsodies?. Work progressed slowlyand d?Aranyi only received the music four days before the première but she still gave a brilliant performance.
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Ludwig van Beethoven: Violin Concerto In D Op.61 - Piano Reduction: Piano:
Violin and Piano
[Reduction]
Barenreiter
Beethoven's famous concerto for Violin and Orchestra has appeared in many editio...
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Beethoven's famous concerto for Violin and Orchestra has appeared in many editions over the last 150 years but none has truly done justice to the work. Now the acclaimed Beethoven scholar Jonathan Del Mar has achieved just that.Working with all known sources Del Mar finally presents us with Beethoven's intended solo Violin articulation dynamics and slurring; there are even note corrections in the solo part. Additions made by various editors and violin players over the years have been deleted. For the first time we also now have clarity regarding the meaning of Beethoven's Solo and Tutti markings.All in all a groundbreaking scholarly-critical edition;a must have for every violin player orchestra and music library.
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Carl Vine: Violin Concerto: Violin: Score and Parts
Violin and Piano
Faber Music Limited
Piano reduction and violin part. Carl Vine’s atmospheric Violin Concerto (2...
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Piano reduction and violin part. Carl Vine’s atmospheric Violin Concerto (2011) creates a rich and multi-faceted relationship between soloist and orchestra. Unfolding over two finely-crafted movements of roughly equal length the 23-minute work often uses the orchestra sparingly with players from the orchestra joining the soloist in delicate chamber-music textures.
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Pyotr Ilyich Tchaikovsky: Serenade Melancolique Op 26 For Violin & Piano:
Violin and Piano
G. Henle
for Violin and Piano-Following the publication of the Valse-Scherzo we continue...
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for Violin and Piano-Following the publication of the Valse-Scherzo we continue Henle's edition of Tchaikovsky?s complete works for violin and piano with the enchanting Sérénade mélancolique op. 26. This was Tchaikovsky?s first concertante work forviolin the beginning of a path that was to lead to his Violin Concerto three years later. He composed the Sérénade mélancolique in 1875 for violinist Leopold Auer originally for violin and orchestra but later also in a versionfor violin and piano. Since the autograph sources are lost this Henle edition is based on the Russian first editions which even in Tchaikovsky?s lifetime were issued in a number of revised versions. The editor RussianTchaikovsky scholar Alexander Komarov brings exemplary clarity to the confused state of the sources while Ingolf Turban unlocks the notation of the violin part with his accomplished fingerings and bowings.
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Dutilleux H. - Sur Le MĂŞme Accord - Violon and Piano
Violin and Piano
Schott
Nocturne Klavierauszug mit Solostimme - KA SoloSt - violin and orchestra Henri ...
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Nocturne Klavierauszug mit Solostimme - KA SoloSt - violin and orchestra Henri Dutilleux was born in Angers, France, in 1916. This ten-minute Nocturne in one movement was first performed in London by Anne-Sophie Mutter. The demanding solo part has closely alternating virtuoso and lyrical passages. The orchestra accompanies and engages in a dialogue with the solo violin in a colourful and elegant manner that is typically French. The violin part in this edition contains bowings and fingerings by Anne-Sophie Mutter.
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Dvorak - Violin Concerto Op.53 - Violon and Piano
Violin and Piano
Barenreiter
Dvorák, AntonĂn Concerto for Violin and Orchestra A minor op. 53 Edition no. B...
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Dvorák, AntonĂn 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 OndrĂcek 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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Romance In F Minor For Violin And Piano Op.11: Violin: Instrumental Work
Violin and Piano
Barenreiter
Originally written for Violin and Orchestra between 1873 and 1877 Dvo ák?s Rom...
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Originally written for Violin and Orchestra between 1873 and 1877 Dvo ák?s Romance immediately followed his String Quartet in F minor (1873) and draws on the theme from its slow movement. He probably wrote the Romance for his friend the Violin virtuoso Franti?ek Ond ek who later premiered Dvo ák?s Violin Concerto in 1883.This Barenreiter edition is the first to avail itself of the recently rediscovered autograph of Dvo ák?s own version for Violin and Piano. Compared to the well-known Piano reductions it differs from the Orchestral version in several important respects and is also one barshorter.This new edition containing the composer?s more authentic version can nevertheless also serve as a Piano reduction to the Orchestral version.First edition of the Piano version based on Dvo ák?s autograph.Foreword by David R. Beveridge (Cz/Eng/Ger).Critical Commentary (Eng) by the editor.
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