| Play Along Violin :
Italian Songs- Vol.39 Violon et Piano [Partition + CD] - Facile Hal Leonard
Play-Along Violin: Italian Songs- Volume 39 has been designed to help you play y...(+)
Play-Along Violin: Italian Songs- Volume 39 has been designed to help you play your favourite songs quickly and easily.Also included is an accompanying CD that lets the player listen to how the Violin should sound, then play along using the separate backing tracks. / Violon Et Piano
20.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Thu-Phong (TIET TON-THAT) Violon et Piano [Partition] Jobert
Par TIET TON-THAT. / contemporain / Répertoire / Violon et Piano
29.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto For Violin And
Orchestra E Minor Op. 64
(MENDELSSOHN-BARTHOLDY
FELIX) Violon et Piano [Partition] Barenreiter
Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY F...(+)
Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY FELIX. (replaces BA 9050-90) Mendelssohn'
s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy'
Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known.
As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard.
The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard.
The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.
It is safe to assume that all of this was done with Mendelssohn'
s approval. That the young violinist made a positive impression on the composer is confirmed in the latter'
s correspondence following their joint performance. Mendelssohn is full of praise for Léonard'
s playing and offers to lend his support in finding employment in Germany.
This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.
The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
- New source situation owing to recently rediscovered proofs
- Revised Urtext edition
- With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano
31.50 EUR - vendu par LMI-partitions Délais: En Stock | |
| Concerto For Violin And
Orchestra E Minor Op. 64
(MENDELSSOHN-BARTHOLDY
FELIX) Violon et Piano [Partition] Barenreiter
Piano Reduction Of The Early 1844 Version. Par MENDELSSOHN-BARTHOLDY FELIX. Mend...(+)
Piano Reduction Of The Early 1844 Version. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn'
s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy'
Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known.
As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard.
The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard.
The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.
It is safe to assume that all of this was done with Mendelssohn'
s approval. That the young violinist made a positive impression on the composer is confirmed in the latter'
s correspondence following their joint performance. Mendelssohn is full of praise for Léonard'
s playing and offers to lend his support in finding employment in Germany.
This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.
The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
- New source situation owing to recently rediscovered proofs
- Revised Urtext edition
- With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano
36.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Forme di Felicita
(CAMPOGRANDE NICOLA) Violon et Piano [Partition] Breitkopf & Härtel
Par CAMPOGRANDE NICOLA. For a long time after Romanticism had come to the fore, ...(+)
Par CAMPOGRANDE NICOLA. 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, Schönberg 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 / Date parution : 2022-10-12/ Répertoire / Violon et Piano
37.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Chant
Hébraïque
(CASTELNUOVO-TEDESCO
MARIO) Violon et Piano Leduc, Alphonse
Par CASTELNUOVO-TEDESCO MARIO.
Born into a family that had lived in Florence si...(+)
Par CASTELNUOVO-TEDESCO MARIO.
Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers'
place of worship. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what '
Jewish music” could be. It would take until the death of his maternal grandfather, and the discovery of a collection of prayers set to music among his papers, for the young Castelnuovo-Tedesco to begin to explore Jewish music.
In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E
tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E
tudes published by Leduc. The piece became so popular that it led to several adaptations, and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano.
Divided into three sections, the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a '
Wailing Wall”, Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk, '
lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note./ Répertoire / Violon et Piano
14.09 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Funny Animals (IGUDESMAN
ALEKSEY) Violon et Piano - Facile Universal Edition
10 Easy Compositions With Creative Performace Ideas. Par IGUDESMAN ALEKSEY. Alek...(+)
10 Easy Compositions With Creative Performace Ideas. Par IGUDESMAN ALEKSEY. Aleksey Igudesman has always enjoyed writing pieces inspired by animals. His latest collections 'In the Zoo” and 'In the Zoo 2” were great fun and had the bonus of concealing useful technical studies in the music so that young players could improve their technique without knowing they were working hard! Aleksey wondered how he could follow these books and decided to choose animals that few people even knew existed.
So, in 'Funny Animals”, for violin and piano, we meet such creatures as the Panda Ant, the Aye-Aye and the Dumbo Octopus! The animals are introduced with texts and pictures by his friend Magdalena Hoffmann. Aleksey says that, if you only want to play the music, that's great but he provides lots of theatrical instructions for a stage performance.
You might find yourself blowing kisses to the audience or playing while standing on one leg! If you have the nerve to do this and film yourself for YouTube he says you should mention his name and tag him and you will find yourself featured on his own homepage. Do this, he says, and your route to stardom is guaranteed! The music does not demand great technical ability from the player but maybe… on one leg? / Niveau : Facile / Recueil / Violon et Piano
21.40 EUR - vendu par LMI-partitions Délais: En Stock | |
| Oeuvres Pour Violon Et
Piano (DEBUSSY CLAUDE) Violon et Piano Barenreiter
Par DEBUSSY CLAUDE. Claude Debussy had difficulties finishing his last major wor...(+)
Par DEBUSSY CLAUDE. Claude Debussy had difficulties finishing his last major work, the Sonata for Violin and Piano. This can be seen in the many drafts which have been handed down and the fact that the cycle for which it was conceived was left unfinished. The work originated under the impact of Debussy'
s progressing illness as well as the First World War.
The first edition, published during the final year of Debussy'
s life, contains many rhythmic errors. The non-autograph metronome marks as well as the discrepancies between the separate violin part and the violin part in small print in the piano score are two problems that have affected the work'
s later reception. Both are examined here in a fresh light.
In addition to the Sonata, this edition contains arrangements of „La fille aux cheveux de lin'
and „Il pleure dans mon coeur'
by the American violinist Arthur Hartmann. It was Hartmann who inspired Debussy to make an arrangement of his well-known piano piece „Minstrels'
, also included in our edition.
- Debussy'
s complete works for violin and piano
- With arrangements by Debussy'
s acquaintance Hartmann
- Informative Foreword (Eng/Fr/Ger)
- Critical Commentary (Eng)/ Répertoire / Violon et Piano
27.70 EUR - vendu par LMI-partitions Délais: En Stock | |
| Violin Sonatas, Fragments Violon et Piano G. Henle
This Urtext edition contains rewarding discoveries for all lovers of Mozart. Moz...(+)
This Urtext edition contains rewarding discoveries for all lovers of Mozart. Mozart left behind a total of eight unfinished works for piano and violin, predominantly discontinued sonata movements. The music is so wonderful that we have published a separate volume with this group of works - all of which (aside from a fragment in the appendix to our edition) have been completed so that they can be performed. We not only include the familiar completed versions by Maximilian Stadler but also new ones by Robert D. Levin. He has contributed five, each of which is full of Mozartian spirit. A preface with a critical report presents the facts in detail and incorporates the most recent scholarly findings. Benjamin Schmid and Ariane Haering have provided fingerings for this edition that is in every sense unique. / Violon Et Piano
39.40 EUR - vendu par LMI-partitions Délais: En Stock | |
| Arboretum Suite (DAVIS
OLIVER) Violon et Piano [Partition] Chester
Par DAVIS OLIVER. 'For many years the violinist Kerenza Peacock and I have been ...(+)
Par DAVIS OLIVER. 'For many years the violinist Kerenza Peacock and I have been discussing the concept of a piece about trees. One day I received in the post from her a book by Annie Davidson entitled, ‘How to be More Tree’. This brilliant book became the inspiration for the Arboretum Suite. The first tree I decided to write about was Aspen. I read that Aspen trees work together sharing water and nutrients through their root system, so only as a community can they grow in strength. Aspen is followed by Açai Palm, a tree which is native to Brazil and Argentina, hence the Latin American feel of this movement. The score is marked pizzicato, the plucked sound further accentuating the South American rhythms. The Vanishing Mahogany of the Amazon naturally has a very sombre feel, although the major key ending of this movement reflects the hope that we may still manage to save the rain forests. The last movement describes my response to the description of the Mountain Hemlock. I wanted to create rhythms that depicted this beautiful tree swaying in the mountain winds.' - Oliver Davis / Date parution : 2022-06-08/ Répertoire / Violon et Piano
21.19 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Romanesca Op. 13/1 Violon et Piano Schott
Any violinist who hears the name Sitt nowadays will probably just think of the a...(+)
Any violinist who hears the name Sitt nowadays will probably just think of the author of studies and exercises that have long been a familiar feature in instrumental lessons. Of course the Prague violinist, music teacher and composer Hans Sitt (1850-1922) made a significant impact on methods of violin teaching, but he also wrote a whole series of other works worth listening to: concertos for violin, viola and cello and chamber music for various combinations of instruments. Sitt studied the violin in Prague and was then appointed first as leader of the orchestra and then as musical director in Breslau (now called Wroc?aw).After posts as director of music in Prague, Chemnitz - where he championed the work of Smetana - and Nice, he was eventually appointed professor of violin, orchestral playing and score reading at the Leipzig Conservatoire from 1884-1921. Besides this he also played viola in the Brodsky Quartet, organised concerts and was conductor of the Bach Society. The composers Franco Alfano - who completed Puccini's unfinished opera Turandot- and Frederick Delius studied with Sitt, as did the conductor Václav Talich. Three Album Leaves op. 13 were also composed during his time in Leipzig, published by Bosworth and Co in 1894. Romanesca, #1 in that collection, is a pretty, slightly melancholy piece of music with romantic appeal that draws out lyrical and expressive playing and is thus eminently suitable for tuition purposes and concert performances. / Violon Et Piano
11.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto For Violin,
Strings And Basso
Continuo G Minor (BACH
JOHANN SEBASTIAN) Violon et Piano [Partition] Barenreiter
Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in ...(+)
Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano
17.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Sonata Movement For
Violin And Piano C Minor
Woo 2 Violon et Piano Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes 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 players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter'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 additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
15.80 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Eugène Bozza: Aria
(Book/Download Card) En Français Violon et Piano [Partition + Accès audio] Leduc, Alphonse
Composer and conductor Eugène Bozza (1905-1991) was a pupil of Henri Büsser an...(+)
Composer and conductor Eugène Bozza (1905-1991) was a pupil of Henri Büsser and Henri Rabaud at the Conservatoire de Paris, and received the first Prix de Rome in 1934. It was during his stay the Villa Medici that he wrote his Aria Pour Saxophone Alto Et Piano - an adaptation of the third movement of Johan Sebastian Bach's Organ Pastorale in F Major BWV 590, which was to tour the world. This nostalgia-imbued melody, which expands over a regular meter, has, in turn, been the subject of numerous transcriptions, first for clarinet, then for Violin (or Flute) and Piano. Editions Leduc have chosen to republish this last version, with the added bonus of an audio version that should be of valuable assistance to all musicians! / Violon, Flûte Et Piano
19.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
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