Allerheiligentag V. Par LINJAMA JYRKI. The material for Jyrki Linjama's Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba (2018) and Sonata for violin solo (2019). The composer tells: 'The choice of topic and material was originally influenced by the place where the string trio would be premiered ? the old church on the island of Seili (Själö) in the Turku archipelago. The bleak history of the mental hospital on the island invited images of suffering and death. I got so attached to the fine, bleak melody that this series of works began to emerge.' Lasting 17 minutes, the sonata for solo violin has three movements, all of them embracing the folk choral material and Béla Bartók?s influence in different ways. It was premiered by Kaija Saarikettu at the Kaustinen Chamber Music Festival in 2020. / Date parution : 2022-05-31/ Répertoire / Violon

Bwv 1001-1006. Par LAWRENCE GOLAN. Edition du Dr Lawrence Golan des chefs-d'oeuvre de Bach pour violon solo combine l'authenticité et l'exactitude d'une édition savante de Urtext avec la valeur concrète et l'obligeance d'une édition d'exécution. Un fac-similé du manuscrit autographe de Bach a été utilisé dans la préparation de cette édition et les intentions du compositeur ont été conservées jusqu'au dernier détail. Mention particulière est le fait que toutes les tiges ont été retransmises ensemble tels qu'ils apparaissent dans le manuscrit autographe. C'est d'une grande importance lors de la prise de décisions d'interprétation concernant les rythmes en pointillé. Utile de doigté et de s'incliner suggestions sont fournis par l'éditeur, mais sont distinguent clairement de notation originale de Bach, ce qui permet à l'interprète la liberté d'accepter ou de rejeter toute suggestion donnée. Le volume se complète d'essai du Dr Golan ' exécution Bach : parsemé de rythmes et de trilles dans les sonates et Partitas pour violon Solo,' qui comprend également des discussions savantes de vibrato, doigtés, styles de l'archet et ritard... / Niveau : Intermédiaire à Avancé / Classic - Solos / Recueil / Violon

Studi per violino - dal grado elementare agli studi di Kreutzer [etudes pour violon : du niveau debutant aux etudes de Kreutzer] est une anthologie d'etudes d'auteurs soigneusement elaboree, conue pour creer un chemin pas a pas mais rapide pour les jeunes violonistes, qui devrait leur permettre d'aborder avec succes les etudes intermediaires et avancees, les laissant bien prepares et avec l' equipement necessaire pour affronter divers aspects de la technique et de la pratique d'execution. La consultation des sources originales, ainsi que les criteres editoriaux et graphiques qui permettent de distinguer facilement les ajouts de l'editeur des indications originales, constituent ici un atout indeniable, surtout a la lumiere de l'accent mis actuellement sur une pratique d'execution historiquement informee. / Méthodes et pédagogie / Cordes / Violon / RICORDI

Now more than ever, the ability to sight-read fluently is an essential part of the training of musicians on an instrument. This workbook is designed to help overcome the nerves that can cause sight-reading problems by giving sound technical advice and confidence boosting tips. Step-by-step it helps the violinist to build up a complete picture of each piece, first through rhythmic and melodic exercises related to specific problems, then by the study of prepared piece with associated questions for the student to answer, and finally to the real, unprepared sight-reading test itself. Check-boxes for each stage allow both teacher and pupil to keep an eye on progress. The new editions of this popular series supports the new ABRSM string syllabus requirements from 2012, ensuring success in the sight-reading tests of graded exams. / Violon

Par HARRIS PAUL. Now more than ever, the ability to sight-read fluently is an essential part of the training of musicians on an instrument. This workbook is designed to help overcome the nerves that can cause sight-reading problems by giving sound technical advice and confidence boosting tips. Step-by-step it helps the violinist to build up a complete picture of each piece, first through rhythmic and melodic exercises related to specific problems, then by the study of prepared piece with associated questions for the student to answer, and finally to the real, unprepared sight-reading test itself. Check-boxes for each stage allow both teacher and pupil to keep an eye on progress. The new editions of this popular series supports the new ABRSM string syllabus requirements from 2012, ensuring success in the sight-reading tests of graded exams./ Etude / Violon

Now more than ever, the ability to sight-read fluently is an essential part of the training of musicians on an instrument. This workbook is designed to help overcome the nerves that can cause sight-reading problems by giving sound technical advice and confidence boosting tips. Step-by-step it helps the violinist to build up a complete picture of each piece, first through rhythmic and melodic exercises related to specific problems, then by the study of prepared piece with associated questions for the student to answer, and finally to the real, unprepared sight-reading test itself. Check-boxes for each stage allow both teacher and pupil to keep an eye on progress. The new editions of this popular series supports the new ABRSM string syllabus requirements from 2012, ensuring success in the sight-reading tests of graded exams. / Violon

Studi per violino - dal grado elementare agli studi di Kreutzer est une anthologie d'etudes d'auteurs soigneusement elaboree, conue pour creer un apprentissage pas a pas et neanmoins rapide pour les jeunes violonistes. Ce recueil devrait leur permettre d'aborder efficacement les etudes intermediaires et avancees, en leur donnant une bonne preparation et l'experience necessaire pour aborder divers aspects de la technique et de l'interpretation. La consultation des sources originales, ainsi que les criteres editoriaux et graphiques qui permettent de distinguer facilement les ajouts de l'editeur des indications originales, constituent ici un atout indeniable, surtout compte tenu de l'accent mis actuellement sur une pratique interpretative historiquement renseignee. / Méthodes et pédagogie / Cordes / Violon / RICORDI

Spielend for two violins was written during the summer and early autumn of 2003 and is based on the idea of the two instruments not only playing the instruments but also playing in the sense of sport i.e. playing their themes off against each other and playing with the musical material. There are times for instance when they seem to be having a contest to see who can finish the themes first or who can divert the other’s attention to a new texture or rhythm. The title the German word for 'playing' also refers in a way to the composer himself exploring the themes harmonies and rhythms - particularly notable in this respect is the large central slow section which contraststwo altered reminiscences of the Violin Sonata of Poulenc (a composer whose music is very dear to me) with the gradual expansion of a fugue from two parts to eight (four in each violin). Fugue after all is in a sense an example of a composer making sport however seriously with the themes.So the work is a kind of extended musical pun lasting about fifteen minutes in all and being performed without a break. Though the central section is slow the outer ones are quick and energetic emphasizing especially the idea of activity and vigour - the ending however may catch the unwary listener by surprise.The first performance was given by Philippa Mo and Peter Sheppard Skærved in Leighton House London on 7th May 2004.'John McCabe's new 'Spielend' strikes me as a miniature masterpiece: a highly charged 15-minute piece in which the violins chase or echo each other in a thousand different ways including a fugure in which as with Bach two instruments seemed to suggest a dozen voices.'            - Richard Morrison The Times 11/05/2004

Wonderful World of Tchaikovsky for Violin and Piano-Russian composer Pyotr Ilyich Tchaikovsky’s works included symphonies concertos operas ballets chamber music and a choral setting of the Russian Orthodox Divine Liturgy. Some of these are among the most populartheatrical music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally which he bolstered with appearances as a guest conductor later in his career in Europe and theUnited States.Arranged by Andrew Moore for intermediate level Violin and Piano The Wonderful World Of Tchaikovsky includes Barcarolle Daydream Love theme from Romeo andJuliet Old French song Tears Theme from second movement of Symphony No 5 and Waltz from Swan Lake.

Now more than ever the ability to sight-read fluently is an essential part of the training of musicians on an instrument. This workbook is designed to help overcome the nerves that can cause sight-reading problems by giving sound technical advice and confidence boosting tips. Step-by-step it helps the violinist to build up a complete picture of each piece first through rhythmic and melodic exercises related to specific problems then by the study of prepared piece with associated questions for the student to answer and finally to the real unprepared sight-reading test itself. Check-boxes for each stage allow both teacher and pupil to keep an eye on progress.Thenew editions of this popular series supports the new ABRSM string syllabus requirements from 2012 ensuring success in the sight-reading tests of graded exams.

Here at long last is the perfect fiddle book for the true and total beginner. No previous experience needed! Wayne takes you through every step of adjusting tuning holding and playing the fiddle. The tunes are written outin Wayne???s unique and easy tab system an also in standard notation. Fiddle instruction has never been simpler clearer or more humorous. Includes instructional CD.

This is the Score for Paavo Heininen's work for Flute and Piano: Jeu II from Opus 43. Commissioned by the Finnish Broadcasting Company in 1980.

A comprehensive and scientific guide to developing and employing Vibrato in your Violin playing. Werner Hauck analyses many different Vibrato techniques that achieve a variety of lyrical and 'human' qualities to illuminate melodies including a close look at some of the prominant Vibrato methods of the past and a detailed guide to the origins of Vibrato in the human singing voice. He examines many contasting musical examples giving guidance upon exactly how to articulate an effective Vibrato that is appropriate in capturing and expressing the inner character of the music.

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 / Violoncelle