By Wolfgang Rihm (1952-). For Violin, Piano. This edition: paperback. Edition Breitkopf. 14 pages. Published by Breitkopf and Haertel

Violin, piano

SKU: BR.EB-6794

Composed by Jurg Baur. Solo instruments; Softcover. Edition Breitkopf.

World premiere Dusseldorf, December 6, 1976CDIgor Ozim (Violine), Gunter Ludwig (Klavier)CD Koch 3-1198-2 BibliographyGudelhofer, Matthias: Jurg Baur. Die spate Kammermusik, Koln: Dohr 2002

Music post-1945. Score. Composed 1976. 28 pages. Duration 18'. Breitkopf and Haertel #EB 6794. Published by Breitkopf and Haertel (BR.EB-6794).

ISBN 9790004169919. 9 x 12 inches.

1. Satz Ritornell - Perpetuum mobile 2. Satz Ritornell - Fantasia 3. Satz Mesto 4. Satz Ritornell - Burletta - Ritornell Ein Ritornell (kurz, melodios) umschliesst das ganze Stuck wie eine Rahmenerzahlung, leitet zum 1. , 2. und 4. Satz, steht wie eine besinnliche Frage am Ende (Es war einmal). Die Musik des ganzen Werks ist von allen Zwangen befreit; eine quasi improvisierte Reihung von Formteilen in jedem Satz. Dodekaphonik, Aleatorik, Klangspiele, Cluster wechseln, als Farbe, -als Felder eingesetzt. Das Klavier ubernimmt verschiedene Aufgaben, Begleitung, Gegenrhythmen, Klangfelder, Dialoge mit der Violine; diese wiederum dominiert meist technisch und musikalisch - aber unaufdringlich, fuhrt wie selbstverstandlich den Reigen an. Jeder einzelne Satz ist charakteristisch-typisch gepragt wie ein ,,moment musical. Satz 1 Perpetuum mobile. Technisch sehr anspruchsvoll fur die Violine, - will immer im Spiel bleiben - endet in insistierenden dreifachen Kanon ff - bricht ab - Satz 2 Klangspiele flag. pizz, gliss. , alternierend in Geige und Klavier (Saiteneffekte), Satz 3 Trauermarschahnliches Mesto Klopfgerausche fur Violine und Klavier als Metron, Ausdrucksstarke Kantilenen Satz 4 Mehrteilige humorvolle Burletta endet auf kreisender Violinfigur, fuhrt unmerklich ins Ritornell zuruck. CD Igor Ozim (Violine), Gunter Ludwig (Klavier) CD Koch 3-1198-2 Bibliography Gudelhofer, Matthias: Jurg Baur. Die spate Kammermusik, Koln: Dohr 2002

World premiere Dusseldorf, December 6, 1976CD Igor Ozim (Violine), Gunter Ludwig (Klavier)CD Koch 3-1198-2 BibliographyGudelhofer, Matthias: Jurg Baur. Die spate Kammermusik, Koln: Dohr 2002.

Violin and Piano

SKU: AP.36-60710009

From Preludes, Book 2. Arranged by Claude Debussy and ed./arr. Lucien Garban. Violin. Master String Series. Book. LudwigMasters Publications #36-60710009. Published by LudwigMasters Publications (AP.36-60710009).

ISBN 9798888521786. UPC: 676737764432. English.

Unlike Bach and Chopin, Claude Debussy (1862-1918) wrote his twenty-four Préludes for solo piano without a clearly organized pattern of key relationships. They were written from December 1909 to April 1913, in two sets, with twelve preludes to each volume. Jane Mortier delivered the premiere of the first volume on May 3, 1911, at the Salle Pleyel in Paris. Walter Morse Rummel gave the first complete performance of the second volume on June 12, 1913, at the Aeolian Hall in London. Prelude No. 5 from Book 2, subtitled Bruyéres, bears similarity to another of his works for piano, La Fille aux cheveux de lin (The Girl with the Flaxen Hair). The pianist Marguerite Long, a friend of the composer, suggested that it sounded reminiscent of the mingling scent of sea mist and pines. French composer and arranger Lucien Garban completed this transcription of No. 5 from Book 2 (Bruyères) for violin and piano in 1926. Reprint edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Anna Pulkkis. The violin was Sibelius's instrument, and the virtuoso aspect is eminent in Drei Stucke Op. 116 as well as in his entire oeuvre for violin and piano. Apart from that, Op. 116 provides a glimpse into the last active phase of Sibelius's care. Breitkopf and Haertel #EB-9341. Published by Breitkopf and Haertel

SKU: HL.49046626

For Violin and Piano. Composed by Samuel Coleridge-Taylor. String. Softcover. 14 pages. Schott Music #ED14074. Published by Schott Music (HL.49046626).

UPC: 842819114628. 9.0x12.0x0.07 inches.

Samuel Coleridge-Taylor was paid three guineas for the publishing rights to his Suite de Pièces by Schott & Co. London on 24 December 1892 when the composer was just 17 years old. In the following year the work was published by Schott Music's German office in versions for both violin with piano and violin with organ. Coleridge-Taylor was born in London and brought up in Croydon. He learnt to play the violin, was recognized as a child prodigy and at 15 was awarded a scholarship to study at the Royal College of Music with Charles Villiers Stanford, where he was a contemporary of Holst and Vaughan Williams. Coleridge-Taylor described himself Anglo-African and, despite support from his colleagues, faced racism throughout his whole career. In spite of this prejudice and his tragically early death in 1912 aged just 37, he enjoyed great success during his lifetime and his music was performed at the Proms no less than 116 times between 1898 and 1939. In contrast, since 1940 his music has only been heard there on eleven occasions. Like many works, at some point in the past Suite de Pièces became out of print. Schott Music is very proud to present this new modern performing edition of the version for violin and piano. Errors and inconsistencies from the first edition have now been corrected.

Violin and Piano

SKU: AP.36-60710008

For Violin and Piano. Composed by Ralph Vaughan Williams/ Inspired by a poem of George Meredith. Violin. Master String Series. Book. LudwigMasters Publications #36-60710008. Published by LudwigMasters Publications (AP.36-60710008).

ISBN 9798888522028. UPC: 676737624248. English.

Ralph Vaughan Williams, ever fond of poetry, found creative impetus for his beautiful romance The Lark Ascending, IRV 39, in an 1881 poem by George Meredith. Marie Pauline Hall, to whom the work was dedicated, gave the first performance of the original violin and piano version, here presented in a Masters reprint edition, at Shirehampton Public Hall on December 15, 1920, beside pianist Geoffrey Mendham. After World War I, the composer expanded the work for soloist and full orchestra. This has become the version most familiar to listeners. The violin, lifting its silvery tones above the stage, captures the soaring nature of Meredith's couplet: Till lost on his aerial rings/In light, and then the fancy sings. Reprint edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Violin and Piano (Violin)

SKU: HL.14004213

Composed by Lennox Berkeley. Music Sales America. Classical. Book [Softcover]. Composed 2002. 56 pages. Chester Music #CH55778. Published by Chester Music (HL.14004213).

9.0x12.0x0.175 inches.

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.

(for Violin and Piano). By Mikis Theodorakis (1925-). For Violin, Piano Accompaniment (Score and Parts). String. Softcover. 26 pages. Schott Music #VLB145. Published by Schott Music

Violin and Piano. By John Harbison. (Violin). String Solo. Size 9x12 inches. Published by Associated.

(Violin/Piano)

SKU: HL.132977

Composed by A. Nowak. PWM. Classical. Polskie Wydawnictwo Muzyczne #10949010. Published by Polskie Wydawnictwo Muzyczne (HL.132977).

UPC: 884088978112.

Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1918) and Robert Orledge. Arranged by Robert Orledge. String. Softcover. 34 pages. Schott Music #VLB214. Published by Schott Music

Violin, piano

SKU: BR.EB-9413

Composed by Nicola Campogrande. Solo instruments; stapled. Edition Breitkopf. New music (post-2000). Score. Composed 2020. 28 pages. Duration 9'. Breitkopf and Haertel #EB 9413. Published by Breitkopf and Haertel (BR.EB-9413).

ISBN 9790004188873. 9 x 12 inches.

For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020

World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.