| Edward Gregson: Serenata
Notturna: Violin:
Instrumental Work Violon et Piano [Partition] Novello & Co Ltd.
Serenata Notturna by Edward Gregson was first performed by Helena Smart (violin)...(+)
Serenata Notturna by Edward Gregson was first performed by Helena Smart (violin) and Caroline Jaya-Ratnam (piano) at the String Final of BBC Young Musicians 2000 Royal Northem College of Music Manchester 23 February 2000.'As the title suggests my Serenata Notturna evokes the atmosphere of night music. Following a reflective opening where the pitch development outlines a twelve-note series the music gradually becomes more agitated developing into a kind of danse macabre eventually reaching a powerful climax. The music then subsides into a much more tranquil atmosphere and the previous dissonant material transposes itself into a simple melody(like a lullaby) uttered by the violin the outline of which both melodically and in terms of the accompaniment figuration has already been present in the piece since the beginning. Thus the turmoil of the first part of the work becomes transfigured into something much more peaceful - hence the quotation that prefaces the score: ?out of darkness cometh light?. After I finished the work it became apparent to me that it might become the sketch for the slow movement of a Violin Concerto on which I had just begun working. It did indeed form the basis of that slow movement and the concerto was premiered by Lyn Fletcher and the Halle Orchestra conducted by Kent Nagano at Bridgewater Hall Manchester in February 2000 the same month as Serenata Notturna itself was first played in public.'Edward Gregson
13.99 GBP - vendu par Musicroom GB | |
| Guitar Songbook Violon et Piano I.M.P.
Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, pian...(+)
Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, saxophone ténor, trompette et violon. Dans chaque édition, toutes les chansons sont dans la même clé au concert pitch, permettant aux différents instruments à jouer ensemble. Symboles de corde sont inclus au concert pitch pour utilisation par piano ou de la guitare. ' Take the Lead Smash Hits ' contient des arrangements de hits graphique qui englobe une vaste gamme de chansons dans une variété de styles dont les hits de Westlife, Nelly Furtado Christina Aguilera et entendre dire. Il s'agit d'une excellente occasion pour les jeunes joueurs à jouer leurs hits graphique préférée, fournissant le répertoire de l'excellent concert ainsi qu'en encourageant la progression de la technique. Avec un choix de sauvegarde de CD accompagnement ou en jouant avec guitare ou piano ' Prendre les devants ' offre une flexibilité ultime fois enseignant et les étudiants. Table des matières : Je suis comme un oiseau - il pleut hommes - Lady marmelade - hors de portée - il vous serez - Uptown Girl - la façon de votre amour - tout nouveau / Violon Et Piano
29.57 EUR - vendu par LMI-partitions Délais: En Stock | |
| Wieniawski H. - 2eme
Polonaise Brillante Op.
21 - Violon Et Piano Violon et Piano PWM (Polskie Wydawnictwo Muzyczne)
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.
21.10 EUR - vendu par Woodbrass Délais: Sur commande | |
| Share The Lead. Film-Tv Violon et Piano [Partition] I.M.P.
/ Date parution : 2005-05-27/ Recueil / Violon et Piano
54.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Play Showtime Book 1
(Violin) Violon et Piano [Partition] Faber Music Limited
Play Showtime Book 1 presents hits from some of the greatest shows of all time, ...(+)
Play Showtime Book 1 presents hits from some of the greatest shows of all time, arranged for solo violin with piano accompaniment. Contents include Memory from Cats, Maria from West Side Story and On My Own from Les Miserables. / Instrumental Music / Recueil / Violon et Piano
13.31 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Congratulations!
You'Ve Passed Gd 2
(Vn) Violon et Piano [Partition] I.M.P.
/ Date parution : 2005-05-27/ Recueil / Violon et Piano
12.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Ole Bull: La Melancolie:
Violin: Instrumental Work Violon et Piano [Partition] Wilhelm Hansen
La Melancolie is a famous melody first written by Ole Bull in 1850. It is often...(+)
La Melancolie is a famous melody first written by Ole Bull in 1850. It is often known under the name I Ensomme Stunde (?In Moments of Solitude?). It has been arranged here for solo Violin with Piano accompaniment. Ole Bull (1810-1880) was a Norwegian composer Violin virtuoso and nationalist. He started playing early in life performing as a soloist with the Bergen Philharmonic orchestra before the age of ten. He later studied in Paris where he met Chopin Rossini and Paganini before launching a highly successful career as a touring virtuoso performing all across the UK North America and mainland Europe. Few of hiscompositions have survived but perhaps best known is his Saeterjentens Sondag.
5.99 GBP - vendu par Musicroom GB | |
| Sonatas for Pianoforte
and Violin Volume I and
Volume II (BEETHOVEN
LUDWIG VAN) Violon et Piano [Partition] Barenreiter
Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are no...(+)
Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015).
Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part.
Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified.
One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date.
In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano
92.80 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Shrek And Shrek 2 Best Of Violon et Piano [Partition + CD] Hal Leonard
12 solos arrangés pour violon. Ce songbook rassemble les partitions des bandes ...(+)
12 solos arrangés pour violon. Ce songbook rassemble les partitions des bandes originales de Shrek et Shrek 2 un CD audio pour vous accompagnez. / Here's a very special chance to add the wonderful / Recueil / Violon et Piano
15.70 EUR - vendu par LMI-partitions Délais: En Stock | |
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon et Piano Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...(+)
for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the 'Symphonie concertante' his special attention. On April 5 1778 he wrote to his father: 'Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon'.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned 'sinfonie concertante' in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score and parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
12.50 GBP - vendu par Musicroom GB | |
| 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
30.96 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Jones: Viennese Fiddler:
Violin: Instrumental
Album Violon et Piano [Conducteur et Parties séparées] Boosey and Hawkes
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.
19.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Seven (EOTVOS PETER) Violon et Piano Schott
(Memorial for the Columbia Astronauts). Par EOTVOS PETER. Eötvös wrote this pi...(+)
(Memorial for the Columbia Astronauts). Par EOTVOS PETER. Eötvös wrote this piece in memory of the seven astronauts who lost their lives in the Space Shuttle Columbia tragedy in 2003. The number 7 determines the musical, rhythmic and formal structure of the work: 49 musicians are divided into seven groups, and as well as the solo violin there are six further violins arranged correspondingly around the hall; and the solo violin itself portrays each of the astronauts and their different origin, from America via Israel to India, in folkloristically tinged cadenzas.
'The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfilment of a fundamental dream of mankind.' (Peter Eötvös)/ Répertoire / Violon et Piano
49.95 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Nigel Goldberg:
Concertinio No1 In A
Minor: Violin:
Instrumental Work Violon et Piano [Partition] - Facile Spartan Press
The violin pupil can be accompanied either by the violin teacher (as a violin du...(+)
The violin pupil can be accompanied either by the violin teacher (as a violin duet) or with piano. The optional alternative piano accompaniments are by Heidi Rolfe.'I can still remember the thrill I felt as a child of 8 when my violin teacher introduced me to my first concertino. Learning playing and eventually mastering the famous Küchler Concertino in D major made me feel privileged and grown-up as if I were joining a very special club.That was a long time ago yet for me concertinos still hold a distinctive place in the teaching repertoire. Having now taught the violin for the last thirty years and seen how happily my pupils respond to learningduets - that distinctive sense of enjoyment at playing with an adult the improvement of intonation and tone production the liveliness of the lesson - I have composed three new concertinos inspired by the duet form.Taking three great keys for the violin - G D and A minor I have endeavoured to combine emotionally engaging and technically educational music in the 'Olden Style'. Uniquely I have written a second violin part for the teacher to play alongside their pupil's part and there is also a piano accompaniment for use alternatively in concert settings.I very much hope that these concertinos prove as popular and as helpful as the series of duets in my previously published books Sounds of a Rainbow and that they ignite that sense of wonderment and purpose I experienced while playing the Kuchler all those years ago.'Nigel Goldberg
5.99 GBP - vendu par Musicroom GB | |
| Works For Violin And
Piano Violon et Piano Belaieff
Archives du Belaieff contiennent plusieurs oeuvres de la période pré-révoluti...(+)
Archives du Belaieff contiennent plusieurs oeuvres de la période pré-révolutionnaire qui absolument méritent d'être réimprimé et inclus dans le concert contemporain et le répertoire éducatif. Ces pièces sont maintenant publiés par Belaieff dans son nouveau Russe de Belle Epoque / Violon Et Piano
23.20 EUR - vendu par LMI-partitions Délais: En Stock | |
1 |
|