| 3 Stücke Op. 2
(JOACHIM JOSEPH) Violon et Piano [Partition] Breitkopf & Härtel
Par JOACHIM JOSEPH. Editeur(s) d'origine: Mahlert, Ulrich/ Répertoire / Violon ...(+)
Par JOACHIM JOSEPH. Editeur(s) d'origine: Mahlert, Ulrich/ Répertoire / Violon et Piano
30.20 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Romanze in C-Dur (JOACHIM
JOSEPH) Violon et Piano [Partition] Doblinger
Par JOACHIM JOSEPH. / Date parution : 2021-12-09/ Répertoire / Violon et Piano...(+)
Par JOACHIM JOSEPH. / Date parution : 2021-12-09/ Répertoire / Violon et Piano
21.80 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Fantasy On Hungarian
Themes (1850), Fantasy On
Irish [Scottish] Themes
(1852) For Violin And
Orchestra Violon et Piano [Partition] Barenreiter
Fantasy on Irish [Scottish] Themes (1852). Par JOACHIM JOSEPH. Joseph Joachim's ...(+)
Fantasy on Irish [Scottish] Themes (1852). Par JOACHIM JOSEPH. Joseph Joachim's 'Fantasies on Hungarian and Irish [Scottish] Themes” was his first virtuoso music for the violin with orchestral accompaniment. Joachim was intent on creating popular works, not least at the urging of his family, but they also bore witness to his urbanity: the young Jewish-Hungarian musician spent many summers in England and its familiar, Irish melodies held great appeal for English audiences. Performances of the 'Fantasy on Hungarian Themes” in German cities met his need for self-display as the 'Hungarian lad”, to use Mendelssohn's jocular epithet. Joachim was well aware that the style hongrois was all the rage in European capitals./ Répertoire / Violon et Piano
39.70 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Cavatina (RAFF JOSEPH
JOACHIM) Violon et Piano [Partition] Carl Fischer
Par RAFF JOSEPH JOACHIM. / Répertoire / Violon et Piano
8.20 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Cavatine Op. 85/3 (RAFF
JOSEPH JOACHIM) Violon et Piano Schott
Par RAFF JOSEPH JOACHIM. Format: New Edition portrait/ Répertoire / Violon ou V...(+)
Par RAFF JOSEPH JOACHIM. Format: New Edition portrait/ Répertoire / Violon ou Violoncelle et Piano
6.70 EUR - vendu par LMI-partitions Délais: En Stock | |
| Cavatine Op. 85 #3 (RAFF
JOSEPH JOACHIM)
En Français Violon et Piano [Partition] Combre
Par RAFF JOSEPH JOACHIM. / classique / Répertoire / Violon et Piano
5.90 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Beethoven L. (van) -
Sonate N°5 F-dur Op.24
Frühlings-sonate -
Violon Et Piano Violon et Piano Peters 31.40 EUR - vendu par Woodbrass Délais: Sur commande | |
| Drei Romanzen op. 22
(SCHUMANN CLARA) Violon et Piano Barenreiter
für Violine und Klavier. Par SCHUMANN CLARA. The Romances op. 22 are today amon...(+)
für Violine und Klavier. Par SCHUMANN CLARA. The Romances op. 22 are today among Clara Schumann’s most popular chamber music works. For violinists and pianists, they’re also of particular importance due to the wealth of information by Schumann, Joseph Joachim, and Wilhelm Joseph von Wasielewski on fingering, bowing, and phrasing in these three pieces.
While working on the composition and publication of the Romances op. 22, Schumann was in close contact with these two great violinists of the nineteenth century. She consulted Wasielewski while completing an early version of Romance no. 1, while Joachim was involved in a later, complete version and the preparation of the first edition.
Jacqueline Ross’ scholarly-critical edition is the first to include, in addition to the first edition, the numerous manuscript sources that survive today, such as: Schumann’s draft manuscript, presentation autographs for Wasielewski and Joachim, as well as copyists’ parts once owned by the two violinists.
This edition has two separate parts for the violin, allowing its use in two ways: first, as a straightforward Urtext edition: and second, as an edition informed by historical performing practice, supported by the detailed Performing Practice Commentary on nineteenth-century violin and piano technique./ Répertoire / Violon et Piano
27.70 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Brahms J. - Concerto
Pour Violon En Re Majeur
Op.77 - Violon and Piano Violon et Piano G. Henle
Johannes Brahms Concerto pour violon en Ré majeur op. 77 Editeur: Michael Stru...(+)
Johannes Brahms Concerto pour violon en Ré majeur op. 77 Editeur: Michael Struck, Linda Correll Roesner Réduction pour piano: Johannes Umbreit Doigtés vl.: Frank Peter Zimmermann Edition Urtext, réduction pour piano, reliure paperback parties avec ou sans indications de doigté Pages: 123 (X, 50, 33, 30), Dimension 23,5 x 31,0 cm N° d'article HN 818 · ISMN 979-0-2018-0818-5 Déjà accueilli avec enthousiasme par les contemporains, l'unique concerto pour violon de Brahms reste encore aujourd'hui un morceau de répertoire majeur. Témoignage de la collaboration fructueuse qui s'était établie entre le compositeur et Joseph Joachim, est la cadence écrite et ajoutée par ce dernier. La réduction pour piano originale de Brahms, particulièrement exigeante sur le plan pianistique, a fait l'objet d'un «élagage» prudent pour la présente édition de la part de Johannes Umbreit. Se basant sur le texte de la «Neue Brahms-Gesamtausgabe» (nouvelle édition complète des 'uvres de Brahms), la présente édition Urtext reproduit en annexe une variante, jusqu'ici inédite dans les éditions pour la pratique, de la cadence de Joachim. Outre les doigtés et annotations originaux, elle présente aussi les propositions de doigté de Frank Peter Zimmermann.?
26.40 EUR - vendu par Woodbrass Délais: Sur commande | |
| Concerto pour violon en
la mineur op. 53 (DVORAK
ANTONIN) (DVORAK ANTONIN) Violon et Piano G. Henle
Par DVORAK ANTONIN. À l?été 1879, Dvorák coucha relativement vite sur papier...(+)
Par DVORAK ANTONIN. À l?été 1879, Dvorák coucha relativement vite sur papier le concerto demandé par son éditeur, mais ensuite, son achèvement dut attendre jusqu?en 1882. Il montra la partie de violon au célèbre violoniste virtuose Joseph Joachim, qui était d?ailleurs le dédicataire de l??uvre. De nombreux remaniements s?ensuivirent. Finalement, Joachim se désintéressa de l??uvre, si bien que la création en fut reprise par le violoniste tchèque Franti?ek Ondrícek. Cette ?uvre à la forme inhabituelle, qui commence et se termine par un rondo de sonate, est entièrement maintenue dans un caractère slave. Après le lyrisme du mouvement central, l??uvre se termine par des rythmes de danses tchèques.
Cette édition Urtext est fondée certes sur les premières éditions de la partition, de la partie de soliste et de la réduction pour piano, mais aussi sur le manuscrit autographe. Les indications concernant la partie de soliste ont été confiées à la star du violon Augustin Hadelich, qui est actuellement l?un des meilleurs connaisseurs de l??uvre. / Date parution : 2023-03-11/ Répertoire / Violon et Piano
26.10 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Dvorak - Violin Concerto
Op.53 - Violon and Piano Violon et Piano Barenreiter
Dvorák, Antonín Concerto for Violin and Orchestra A minor op. 53 Edition no. B...(+)
Dvorák, Antonín Concerto for Violin and Orchestra A minor op. 53 Edition no. BA 10422-90 ISMN 9790260107687 Editor Cividini, Iacopo Dvorák's Violin Concerto was composed between 1879 and 1882, with the active assistance of Joseph Joachim, and was issued by the publisher Fritz Simrock, Berlin in 1883. Its premiere took place in October of that same year with Franti'ek Ondrícek as soloist. This new Urtext edition is based on the first edition (score, solo violin part, piano reduction and orchestral parts). It also takes Dvorák's autograph which served as a master copy for the engraving into consideration. A fresh assessment of Dvorák's manuscript made it possible to reconstruct several variants ignored in the first and subsequent editions and to clarify ambiguities in the notation and articulation. An important component of our Urtext edition is the original piano reduction, which probably stems from Dvorák himself, and in which Joseph Joachim's fingering is published. ' First Urtext edition of the original piano reduction ' Variants in the solo part rendered as ossia passages ' Foreword on the work's genesis (Ger/Cz/Eng) and detailed Critical Commentary (Eng) by the editor
19.60 EUR - vendu par Woodbrass Délais: Sur commande | |
| Brahms, Johannes : Violin
Concerto in D major Opus
77 - Piano Reduction Violon et Piano [Partition] - Intermédiaire/avancé G. Henle
Déjà accueilli avec enthousiasme par les contemporains, l?unique concerto pour...(+)
Déjà accueilli avec enthousiasme par les contemporains, l?unique concerto pour violon de Brahms reste encore aujourd?hui un morceau de répertoire majeur. Témoignage de la collaboration fructueuse qui s?était établie entre le compositeur et Joseph Joachim, est la cadence écrite et ajoutée par ce dernier. La réduction pour piano originale de Brahms, particulièrement exigeante sur le plan pianistique, a fait l?objet d?un «élagage» prudent pour la présente édition de la part de Johannes Umbreit. Se basant sur le texte de la «Neue Brahms-Gesamtausgabe» (nouvelle édition complète des ?uvres de Brahms), la présente édition Urtext reproduit en annexe une variante, jusqu?ici inédite dans les éditions pour la pratique, de la cadence de Joachim. Outre les doigtés et annotations originaux, elle présente aussi les propositions de doigté de Frank Peter Zimmermann. / Classique / Réduction pour piano: Johannes Umbreit, Doi / Partition / Edition Urtext
26.38 EUR - vendu par Note4Piano Délais: En Stock Plus que 1 ex. en stock, commandez vite ! | |
| 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: Sur commande | |
| Sonata For Violin And
Piano A Major Op. 100 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
17.60 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Sonata For Violin And
Piano D Minor Op. 108 Violon et Piano Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...(+)
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
17.60 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Tzigane Violon et Piano Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...(+)
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 / Violon Et Piano
27.70 EUR - vendu par LMI-partitions Délais: En Stock | |
| F.A.E. Sonata Violon et Piano [Partition] Heinrichshofen Verlag
Cet ouvrage a été écrit en collaboration par Brahms, Dietrich et Schumann, po...(+)
Cet ouvrage a été écrit en collaboration par Brahms, Dietrich et Schumann, pour le violoniste Joseph Joachim. Expert Schumann Joachim Draheim édité cette édition des partitions autographes./ Recueil / Violon et Piano
25.50 EUR - vendu par LMI-partitions Délais: Sur commande | |
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