Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire / Violon et Piano

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

Par ADES THOMAS. Thomas Adès?s Violin Concerto ?Concentric Paths?, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti?s. Cast in three contrasting movements ? each linked by a preoccupation with circling musical figures ? the concerto, subtitled ?Concentric Paths? now occupies a place in standard repertoire. Two lithe, rhythmically driven movements ? Rings and Rounds ? bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. ?In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space.? The Guardian (Tom Service) / Date parution : 2023-07-31/ Répertoire / Violon et Piano

Par SARASATE PABLO DE. Sarasate\'s concert career began at age seventeen after he was awarded the coveted Premier Prix from the Paris Conservatoire for both violin and composition. After his London debut, the playwright and music critique George Bernard Shaw wrote in his review that Sarasate \'left criticism gasping miles behind him.\' Shaw also declared that there were many composers of music for the violin; there were but few composers like Sarasate for violin music. His vast concert repertory included many works written for and dedicated to him by Bruch, Saint-Saëns, Wieniawski, Dvorak and many others. He performed his own works in an inimitable, brilliant and charming manner. His contemporaries marveled at his perfect intonation and stunning rhythmic acuity. His bowing technique was the pride of the French School of violin playing. The works presented in this volume are among his finest. All are based on Spanish popular music and are a virtuosic set for violin and piano. They are and have been in virtually every great violinist\'s repertory. They are also exceptionally popular as encore pieces, as well as favorites of budding virtuosos. / Date parution : 2022-01-14/ Recueil / Violin et Piano

Instrumentation: Vln—Pf(Vc/VdG ad lib) Editor: Burrows Format: Sheet Music Details: Sonatas in F major, D major, G minor, F major; Sonata à cinque in Bb; Allegro in C minor; Sonatina from 'Il trionfo del tempo'; Sonata Movement in A minor; Fantasia in A; Allegro in G for solo violin Contents: ...there's quite a bit of question as to what exactly constitutes Handel's violin sonatas....Editor Donald Burrows feels that, because of range and style, some of these suspect works also were intended as violin sonatas....The advantage of the newly reprinted Peters edition is that there are more pieces to choose from, the music is clear and easy to read, the page turns considerate, and the keyboard realization simple, but effective.--Sarah Freiberg, for STRINGS (September 2010)

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

Mozart?s concertos for Violin and Orchestra belong to that elite group of works determining a Violin players abilities; they are elegant and transparent with demanding passage-work. The Concerto In D Major K.2 271a the ?6th? Mozart Violin concerto has come down to us in two separate sources a French set of parts and score copy as well as a Berlin score. The editorial board of the New Mozart Edition considers this concerto to be of doubtful authenticity. There are however many musicologists who feel that the work has numerous Mozart attributes.This new publication takes both the above mentioned sources into account andincludes the cadenzas from the respective New Mozart Edition volume appendix although these are certainly not from Mozart's pen.- The ?6th? Mozart Violin concerto!- Cadenzas from the sources.- With an alternative ending.- Additional solo part with fingerings and bowings.- Straight-forward Piano reduction.- Full score and performance material (BA5769) and Violin and Piano reduction (BA5769-90) available for sale.

With Piano Accompaniment. Par MILLER DONALD. These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known, others will sound fresh and new to most players. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas, Inc. If performed with full orchestra, no solo parts should be played except the 1st violin part. Note also, if you wish to perform these works with full orchestra and you are short certain instruments, you still have some flexibility with the score. For example, if there are not enough violas for balance, the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas. / Niveau : Débutant / Christmas - Ensemble / Recueil / Violon 1 et 2 et Accompagnement Piano

With Piano Accompaniment-These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known others will sound fresh and new tomost players. The pieces may be performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the pianoaccompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas Inc. If performed with full orchestra no solo parts should beplayed except the 1st violin part. Note also if you wish to perform these works with full orchestra and you are short certain instruments you still have some flexibility with the score. For example if there are not enoughviolas for balance the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas.

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

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.

As with most of Schumann's duos for solo instrument and piano the 'Pieces in Folk Style' originally for violoncello and piano were also published for an alternative instrument. The publisher expected greater circulation and ahigher turnover with an additional edition for violin. Apart from a few changes necessitated by the instrument there was a series of substantial ones in nos. 1 and 5 which partly also concern the piano part. Thus we can beconfident that the version for violin was undertaken by Schumann. Now it is available in an Urtext edition for the very first time! Ernst Schliephake has provided practice-orientated fingerings and it is thus excellently suitedfor the teaching of pupils of medium ability upwards.