Composed by Joseph Haydn, edited by Carl Flesch. Hob. VIIa: 1. For violin and piano. Format: set of performance parts (includes separate pull-out violin part). With solo part and piano reduction. Classical period. 35 pages. 9x12 inches. Published by C.F. Peters.

Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and François de Médicis. This edition: Edition of selected works, Urtext edition. Linen. Saint- Saens, Camille. OEuvres instrumentales completes III/4. Edition of selected works, Performance score, anthology. Baerenreiter Verlag #BA10304-01. Published by Baerenreiter Verlag

Composed by Felix Mendelssohn (1809-1847), edited by Yehudi Menuhin. Set of performance parts (includes separate pull-out violin part) for violin and piano. With solo part, piano reduction and introductory text. 52 pages. Published by C.F. Peters.

Composed by Franz Joseph Haydn (1732-1809), edited by Ferdinand Kuechler. Hob. VIIa: 4. For violin and piano. Format: set of performance parts (includes separate pull-out violin part). With solo part and piano reduction. Classical period. 28 pages. 9x12 inches. Published by C.F. Peters.

Violin and Piano (KB)

SKU: HL.49005250

Erfolgreiche Vortragsstucke. Edited by Wilhelm Lutz. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 8 pages. Schott Music #ED 4902-04. Published by Schott Music (HL.49005250).

ISBN 9790001056427.

Violin and Piano (VC)

SKU: HL.49005249

Erfolgreiche Vortragsstucke. Edited by Wilhelm Lutz. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 16 pages. Schott Music #ED 4902-03. Published by Schott Music (HL.49005249).

ISBN 9790001056410.

Violin and piano - Advanced

SKU: DY.DO-1525

Composed by David Braid. Score and part. Les Editions Doberman-Yppan #DO 1525. Published by Les Editions Doberman-Yppan (DY.DO-1525).

ISBN 9782897963057.

J'aime les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.

Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.

Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.

Une note sur les performances :
Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :

https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953
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Transfigured Life - Still Life, Op. 165 (violin and piano) - David Braid

I am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved and developed.

In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.

The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.

A note on performance:
Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:

https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953.

Composed by David Sterrett. Edited by Howard J. Buss. 21st Century. Score and part. Composed 2017. Duration 11'40". Published by Brixton Publications

Violin and Piano. By Alfred Moffat. Arranged by Alfred Moffat. Schott. Size 9x12 inches. 45 pages. Published by Schott.

By F. M. Veracini. Edited by Lenzewski. For violin, piano. Published by C.F. Peters.