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
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort ...(+)
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition Single Movements for Violin and Orchestra K. 261, 269 and 373 tout le talent de Mozart. Cette partition a été composée pour Violon Et Piano. C'est l'éditeur Henle qui a publiée cette oeuvre. / Violon Et Piano / Chanson En Séparée
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
This work was commissioned by the Royal Philharmonic Orchestra to celebrate its ...(+)
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.
After hearing the Boston Symphony Orchestra perform Martinu?s Symphony No. 1 in ...(+)
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
Bohuslav Martinu wrote his first Violin Concerto in Paris in 1932 33 this work ...(+)
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)
Benjamin Frankel's reputation is based on the cycle of five string quartets and ...(+)
Benjamin Frankel's reputation is based on the cycle of five string quartets and eight symphonies which together with the powerfully beautiful concertos for violin and for viola rather overshadow many of his other fine pieces. The Violin Concerto grew from the composer's long and close association with Max Rostal a friendship which also inspired one of Frankel's perhaps best known compositions the First Sonata for Solo Violin.Frankel's exciting Concerto For Violin And Orchestra Op.24 has been beautifully arranged for Violin with Piano Reduction by Philip G. Jones. The solo violin part is also included on a separate insert.
John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon ...(+)
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.
Par PEPIN CAMILLE. Lorsque Claire Bodin [1] m'a proposé d'écrire une pièce en...(+)
Par PEPIN CAMILLE. Lorsque Claire Bodin [1] m'a proposé d'écrire une pièce en hommage à une compositrice du passé, j'ai choisi de rendre hommage à Lili Boulanger (1893-1918). Compositrice et orchestratrice hors-pair, elle était également une très belle femme, généreuse et courageuse, oeuvrant à l'arrière du front pour les civils et soldats mobilisés durant la Première Guerre Mondiale - et cela malgré la maladie et sans jamais cesser d'écrire.
Première compositrice à remporter le Grand Prix de Rome en 1913, elle ouvre une voie jusqu'alors non reconnue aux femmes. Son succès éclaire la présence féminine dans un domaine jusque là 'réservé' exclusivement aux hommes. Rendre hommage à Lili Boulanger, c'est non seulement rendre hommage à l'incroyable femme et musicienne qu'elle était, mais aussi à cette voie qu'elle a ouverte aux compositrices des générations futures.
J'ai choisi d'écrire une pièce inspirée de la mythologie hindoue, en hommage à sa Vieille Prière Bouddhique achevée en mars 1917. Indra sera ainsi créée en mars 2017 - soit cent ans après la conception de l'oeuvre de Lili Boulanger !
Indra est le dieu de la guerre et de l'orage. Ses attributs sont l'éclair et l'arc-en-ciel. Doté de pouvoirs magiques, Indra affronte le serpent Vrtra qui retient les eaux célestes, faisant ainsi souffrir le monde d'une grande sécheresse. Indra le combat et délivre les eaux du ciel en transperçant les nuages. Tel est le mythe qui m'a inspiré.
J'ai eu envie d'écrire une pièce rythmique, puissante et énergique, pour rendre hommage à la force et au courage de Lili Boulanger en tant que femme artiste. Lui rendre hommage aujourd'hui sans prendre en compte sa condition de femme est un luxe que l'on ne peut pas encore se permettre. Qui plus est, il m'a semblé tout naturel de choisir ce thème plein de vigueur pour cette oeuvre dédiée à la pianiste Célia Oneto Bensaïd et la violoniste Raphaëlle Moreau qui en feront la création.
Tout l'enjeu de cette oeuvre était de représenter cette force et cette volonté : comment rendre cette vivacité et cette fougue de l'orage - de ce combat - avec seulement deux instruments ?
J'ai ainsi conçu une pièce alternant des épisodes nerveux et pulsés - guerrier - à des épisodes plus légers et dansants - vif, aérien. J'ai recherché des sonorités martiales en pensant véritablement l'oeuvre d'une façon 'orchestrale' avec des appels de cors ou encore des coups de grosse caisse. Un bref épisode aux couleurs flûtées sur un tapis scintillant de harpe - magique et incantatoire - rappelle les pouvoirs magiques d'Indra avant de retrouver la nervosité et la pulse initiales. / Contemporain / Répertoire / Violon et Piano
Ce travail virtuose, basée sur le rythme habanera cubaine, a été composé en ...(+)
Ce travail virtuose, basée sur le rythme habanera cubaine, a été composé en 1887 et est une partie du répertoire de concert standard. Après Christine Baur très réussie édition Bärenreiter Urtext de 'Allegro appassionato' Saint Saëns (BA 9047), l'éditeur présente aujourd'hui le 'Havanaise' dans la version pour violon et piano.Cette première édition critique de-jamais 'Havanaise' attire à la fois sur la version du compositeur autographe pour violon et piano ainsi que la version orchestrée plus tard. Lorsque la partie solo de la version orchestrale diffère de la version pour violon et piano, les variantes sont indiquées dans la partie de violon que Ossias.L'éditeur propose une introduction concise et informative (Eng / Ger / Fr) sur l'histoire et le processus de composition de la 'Havanaise'- un commentaire critique détaillée (Eng) conclut cette édition Urtext.- D'abord critique savante édition de cet ouvrage- Variantes de la version orchestrale montré dans la partie de violon- D'abord critique savante édition de cet ouvrage- Variantes de la version orchestrale montré dans la partie de violon / Piano Et Violon / Partition
Professionnel ou amateur de Classique vous apprécierez cette partition de musiq...(+)
Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Bruch Max et éditée par Henle cette partition est idéale pour les joueurs de Violon. Si l'instrumentation Violon Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violon Et Piano / Chanson En Séparée
Viennese music has become almost synonymous with Johann Strauss II and his great...(+)
Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.
À l'âge de 19 ans, Mozart a écrit une série de concertos pour violon qui a m...(+)
À l'âge de 19 ans, Mozart a écrit une série de concertos pour violon qui a marqué son passage à l'âge en tant que compositeur de musique orchestrale. Maintenant, une partie du répertoire standard, ces oeuvres véhiculer la marque unique sensuelle du compositeur de la mélodie. Ce volume comprend les cinq ouvrages:Concerto pour violon n o 1 en si bémol majeurConcerto pour violon n o 2 en ré majeurConcerto pour violon n o 3 en sol majeurConcerto pour violon n o 4 en ré majeurConcerto pour violon n o 5 en la majeurCette édition pratique et la performance est la première à combiner tous ces éléments en une seule version à faible coût réduction pour piano avec mention séparée et amovible 64-page de partition violon solo. Reproduit à partir du début des éditions faisant autorité, ce volume est un complément essentiel aux collections de musiciens intermédiaires et avancés. / Violon Et Piano
2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wien...(+)
2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk 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 Józef 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 Józef 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 Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 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 PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.
With Piano Accompaniment. Par MILLER DONALD. These books are arranged to be perf...(+)
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
Les mélodies de George Gershwin (1898-1937), de comédies musicales 'Porgy and ...(+)
Les mélodies de George Gershwin (1898-1937), de comédies musicales 'Porgy and Bess', à partir de pièces orchestrales comme 'Rhapsody in Blue' ou 'Un Américain à Paris', nous les connaissons tous! Mais la carrière du jeune musicien a commencé comme pianiste dans une maison d'édition de musique où il était d'encourager les clients à acheter de la musique en la jouant. Bientôt il a commencé à composer de la musique lui-même et a attiré l'attention de la Broadway, qui a ouvert la voie à sa carrière internationale. Inspiré par Frédéric Chopin 24 Préludes, il a commencé à écrire ses propres préludes 'pour le piano dans les milieu des années 1920: Sur les cinq préludes composées par lui, il a utilisé deux pour' Short Story 'la composition violon et présenté les trois autres à un concert le 4 Décembre 1926. Ces 'Préludes 'allier moments classiques et des éléments de jazz dans un ensemble efficace et peut être joué individuellement ou en sonate peu de jazz (vif - lent - rapide). Merci à l'arrangement actuel, les charmantes miniatures sont maintenant disponibles dans une version pour instrument soliste et piano. / Violon Et Piano
Professionnel ou amateur de Classique vous apprécierez cette partition de musiq...(+)
Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Saint-Saëns Camille et éditée par Henle cette partition est idéale pour les joueurs de Violon. Si l'instrumentation Violon Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violon Et Piano / Chanson En Séparée