| Frottole (1502) - Vol.2 Dessus, Alto, Ténor et Basse de
Viole [Partition] - Facile In Nomine
Ce deuxième volume de Frottole regroupe les premiers 23 unica à 4 voix d'un ...(+)
Ce deuxième volume de Frottole regroupe les premiers 23 unica à 4 voix d'un manuscrit italien de 1502 conservé à la Bibliothèque nationale de France. Il s'agit à l'origine de pièces vocales religieuses ou profanes. Les textes étant rédigés en italien ancien - probablement un idiome de la région de Mantoue ou Ferrare, où résidait le copiste Lodovico Milliare - il nous a malheureusement été impossible de les reconstituer. Néanmoins, et comme cela était implicitement admis à cette époque, les pièces présentées sont tout à fait adaptées au jeu instrumental. / Niveau : Facile / renaissance / Recueil / Dessus, Alto, Ténor et Basse de Viole
20.20 EUR - vendu par LMI-partitions Délais: En Stock | |
| Italian Classics Violon et Piano Universal Edition
Favourite Italian Melodies. Italian culture influence many art forms and perhaps...(+)
Favourite Italian Melodies. Italian culture influence many art forms and perhaps none more so than music. In this album, David Brooker has arranged, for violin and piano, eleven well-known pieces that simply shout 'ITALY” at you! 'Italian Classics” includes the unforgettable 'O Sole Mio”, 'La Donna è Mobile”, 'Funiculi, Funicula” and Verdi's 'Chorus of the Hebrew Slaves”.
For intermediate players, 'Italian Classics” should complement your repertoire collection just as a glass of Soave accompanies Pasta alla Carbonara. And for antipasto, try Brooker's 'Classical Favourites from Russia” for two violins.
Discover the most popular Italian folk songs and opera classics as well as Giorgio Contes 'Gné Gné'
Rewarding arrangements for intermediate-level players and beyond (3-6*)
Straightforward accompaniments support the soloist
Ideal pieces for performing, expanding the repertoire and playing just for fun/ Recueil / Violon et Piano
25.20 EUR - vendu par LMI-partitions Délais: En Stock | |
| 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 | |
| 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: 2-5 jours - En Stock Fournisseur | |
| Sonata For Violin And
Piano Op. 82 (ELGAR
EDWARD) Violon et Piano G. Henle
Op. 82. Par ELGAR EDWARD. Edward Elgar spent the summer of 1918 in the countrysi...(+)
Op. 82. Par ELGAR EDWARD. Edward Elgar spent the summer of 1918 in the countryside. In August he received reports of the approaching end of the First World War, and this good news so inspired him that he was able to finish an initial draft of his great Violin Sonata in barely four weeks. Writing about it in his diary, he notated laconically: “Wrote some music”. His wife Alice was more enthusiastic: “E. writing wonderful new music, different from anything else of his”. This magnificent music is now available in a Henle Urtext edition by the British violinist and Elgar expert Rupert Marshall-Luck. He has examined and evaluated the many sources according to all the rules of Urtext editing –the sketches, drafts, autograph fair copies, proofs and first edition. / Marshall-Luck, Rupert / Répertoire / Violon et Piano
35.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Mendelssohn F. -
Concerto In E Minor Op.64
(1844) - Violon and Piano Violon et Piano Barenreiter
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 e...(+)
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive 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)
30.10 EUR - vendu par Woodbrass Délais: Sur commande | |
| Mendelssohn F. -
Concerto In E Minor Op.64
(1845) - Violon and Piano Violon et Piano Barenreiter
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Z...(+)
Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive 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)
26.40 EUR - vendu par Woodbrass Délais: Sur commande | |
| Sonates Pour Piano Forte
Et Violon Op. 30 Violon et Piano Barenreiter
Les dix sonates pour piano et violon de Beethoven, ainsi que celles de Mozart, c...(+)
Les dix sonates pour piano et violon de Beethoven, ainsi que celles de Mozart, constituent le c'ur de ce genre de musique classique. Suivant l'exemple des dernières sonates de Mozart, Beethoven laisse la partie violon devenir de plus en plus indépendante de la partie piano. Non seulement l'édition critique de Clive Brown propose un texte méticuleusement édité, mais elle présente pour la première fois une liste de références et un rapport critique. De plus, Brown documente un grand nombre de passages où la notation soulève quelques questions, selon les normes actuelles. Ces passages avaient auparavant été négligés dans le manuscrit autographe, mais leur signification est maintenant clarifiée. Un exemple peut être trouvé dans le « Tempo di Minuetto » de Beethoven, extrait de la Sonat op. 30 n ° 3, où il utilise une idiosyncratie notationnelle basée sur le livre de son fils C.P.E. Bach « Versuch über die wahre Art das Clavier zu spielen », pour indiquer une pause. Ce symbole musical, figurant dans la première édition publiée du vivant de Beethoven, n'a été abordé dans aucune édition moderne à ce jour. De plus, une partition dénotant un accord arpégé ne peut pas non plus être retrouvée dans les éditions modernes précédentes.
47.50 EUR - vendu par Woodbrass Délais: Sur commande | |
| Sonates Pour Piano Forte
Et Violon Op. 12 Violon et Piano Barenreiter
Les dix sonates pour piano et violon de Beethoven, ainsi que celles de Mozart, c...(+)
Les dix sonates pour piano et violon de Beethoven, ainsi que celles de Mozart, constituent le c'ur de ce genre de musique classique. Suivant l'exemple des dernières sonates de Mozart, Beethoven laisse la partie violon devenir de plus en plus indépendante de la partie piano. Non seulement l'édition critique de Clive Brown propose un texte méticuleusement édité, mais elle présente pour la première fois une liste de références et un rapport critique. De plus, Brown documente un grand nombre de passages où la notation soulève quelques questions, selon les normes actuelles. Ces passages avaient auparavant été négligés dans le manuscrit autographe, mais leur signification est maintenant clarifiée. Un exemple peut être trouvé dans le « Tempo di Minuetto » de Beethoven, extrait de la Sonat op. 30 n ° 3, où il utilise une idiosyncratie notationnelle basée sur le livre de son fils C.P.E. Bach « Versuch über die wahre Art das Clavier zu spielen », pour indiquer une pause. Ce symbole musical, figurant dans la première édition publiée du vivant de Beethoven, n'a été abordé dans aucune édition moderne à ce jour. De plus, une partition dénotant un accord arpégé ne peut pas non plus être retrouvée dans les éditions modernes précédentes.
42.20 EUR - vendu par Woodbrass Délais: Sur commande | |
| Romance Op. 11
(Arrangement For Violin
And Piano) Violon et Piano Barenreiter
First ever publication based on the autographOriginally written for violin and o...(+)
First ever publication based on the autographOriginally written for violin and orchestra between 1873 and 1877, Dvorák's 'Romance? immediately followed his String Quartet in F minor (1873) and draws on the theme from its slow movement. He probably wrote the 'Romance? for his friend, the violin virtuoso Franti?ek Ondrícek, who later premiered Dvorák's Violin Concerto in 1883.Our edition is the first to avail itself of the recently rediscovered autograph of Dvorák's own version for violin and piano. Compared to the well-known piano reductions, it differs from the orchestral version in several important respects and is also one bar shorter.Our new edition, containing the composer's more authentic version, can nevertheless also serve as a piano reduction to the orchestral version.- First edition of the piano version based on Dvorák's autograph- Foreword by David R. Beveridge (Cz/Eng/Ger)- Critical Commentary (Eng) by the editor / Violon Et Piano
15.10 EUR - vendu par LMI-partitions Délais: En Stock | |
| Sonata In G Major Op. 13
For Piano And Violin
(GRIEG EDVARD) Violon et Piano
Par GRIEG EDVARD. Of Grieg ’s three Violin sonatas, the great C-minor Sonata o...(+)
Par GRIEG EDVARD. Of Grieg ’s three Violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg ’s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance. ” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm wasalso consulted for this edition, thus offering an optimally ascertained musical text. / Heinemann, Ernst-Günter / Steen-Nökleberg, Einar / Répertoire / Violon et Piano
22.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| The Real Book Of Blues Instruments en Do [Partition] Amsco Wise Publications
Instant no-frills arrangements of over 225 great blues numbers. Each song consis...(+)
Instant no-frills arrangements of over 225 great blues numbers. Each song consists of melody line, chord symbols and lyrics (where appropriate). That's all there is to it! Just open the book and start playing.
44.50 EUR - vendu par Note4Piano Délais: 2-5 jours - En Stock Fournisseur | |
| Sonatas In F Minor And
E-Flat Major For Violin
And Piano Violon et Piano Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...(+)
Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano
37.20 EUR - vendu par LMI-partitions Délais: En Stock | |
| Improvisation In D Minor Violon et Piano Schott
Rota développé cette oeuvre de musique de chambre assez spectaculaire, à cour...(+)
Rota développé cette oeuvre de musique de chambre assez spectaculaire, à court de la musique, il compose pour le film ' Amanti senza amore (1947). La pièce a été enregistrée pour Teldec par Gidon Kremer et Oleg Maisenberg. / Violon Et Piano
17.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Violin Carol Time (Violin
And Piano) (KEYSER PAUL
DE) Violon et Piano [Partition] - Facile Faber Music Limited
Par KEYSER PAUL DE. Everyone wants to play carols at Christmas. Here are 12 best...(+)
Par KEYSER PAUL DE. Everyone wants to play carols at Christmas. Here are 12 best loved carols, in easy, imaginative arrangements for violinists of elementary standard. Simple piano accompaniments are designed for the parent or teacher of modest keyboard ability, while four of the carols have additional duet accompaniments for a second violin. This is an essential book for class or family music-making at Christmas.Includes O come, all ye Faithful, While Shepherds watched, Jingle Bells and more. / Niveau : Facile / Recueil / Violon et Piano
12.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| New Real Book Vol.1 C Instruments en Do Advance Music
The New Real Book is the best-selling legal fake book of all time, with over 100...(+)
The New Real Book is the best-selling legal fake book of all time, with over 100,000 musicians depending on it for accurate, easy-to-read charts for hundreds of the most important tunes in the jazz canon. Don't go to the gig without it!All living composers have approved these charts - many of them are from the composer's own lead sheets.Charts for the standards were derived from a consensus of the best recorded jazz versions.Created by musicians, for musicians. The new standard in fake books! / Instruments En Do
57.33 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 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 | |
| Three Pieces For
Violin/Piano Op. 11 Violon et Piano Novello & Co Ltd.
Three Pieces For Violin And Piano Op.11 were the first works to be written by co...(+)
Three Pieces For Violin And Piano Op.11 were the first works to be written by composer Ian Venables after he moved to Worcestershire in 1986. The pieces, Pastorale, Romance and Dance have been called some of the most beautiful pieces for Violin and Piano ever composed.Brimming with melodic invention and radiant lyricism, the music of Three Pieces For Violin And Piano is both rich and varied. Pastorale begins the interplay between the Violin and the Piano with a beautifully relaxing melodic accord, with an Elgarian influence firmly on its sleeve. Romance exhibits the best kind of artistic simplicity, a musical love-letter featuring an achingly heartbreaking conversation between the two instruments, often ambiguous in its outlook. Dance concludes the Three Pieces with a rhythmically upbeat melody laden with staccato that unfolds into a lovely harmonic concordance, a fitting end to this series of dialogue between the Violin and Piano.Ian Venables' Three Pieces For Violin And Piano Op.11 is a beautifully composed work that is guaranteed to have audiences craving more of such a lovely interplay of these two instruments. / Violon Et Piano
27.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Brahms, Johannes : Trio
for Violin, Violoncello
and Piano op. 87 Piano Trio: piano, violon, violoncelle [Partition] - Avancé Barenreiter
Bärenreiter?s new scholarly-critical edition of op. 87 edited by Christopher Ho...(+)
Bärenreiter?s new scholarly-critical edition of op. 87 edited by Christopher Hogwood is based on the score and parts from the first edition; where necessary he also consulted the autograph.
The first edition parts were engraved after the manuscript parts and not after the score. Here the readings of the legato phrasing and the dynamics more accurately reflect the composer?s intentions than in the first edition score.
? Informative introduction (Ger/Eng) with a valuable insight into the genesis and performance history of this work
? In a larger format 25.5 x 32.5 cm
? Includes a critical commentary (Eng) with facsimile pages / [Trio pour Violon, Violoncelle et Piano Opus 87 (avec parties séparées)] / Classique / Partition /
27.50 EUR - vendu par Note4Piano Délais: 2-5 jours - En Stock Fournisseur | |
| Works For Violin And
Piano (TCHAIKOVSKI PIOTR
ILITCH) Violon et Piano [Partition] G. Henle
Par TCHAIKOVSKI PIOTR ILITCH. with marked and unmarked string parts / Komarov, A...(+)
Par TCHAIKOVSKI PIOTR ILITCH. with marked and unmarked string parts / Komarov, Alexander / Répertoire / Violon et Piano
38.80 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| More Than : The Favorite
(JOPLIN SCOTT) Contrebasse, Piano et Batterie Soldano
Pour Piano, Contrebasse et Batterie. Par JOPLIN SCOTT. Arr. : P. Dendievel_G. St...(+)
Pour Piano, Contrebasse et Batterie. Par JOPLIN SCOTT. Arr. : P. Dendievel_G. Storm / Niveau : Fin 3ème Cycle / Recueil / Contrebasse, Piano et Batterie
15.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| More Than : Peacherine
Rag (JOPLIN SCOTT) Contrebasse, Piano et Batterie Soldano
Pour Piano, Contrebasse et Batterie. Par JOPLIN SCOTT. Arr. : P. Dendievel_G. St...(+)
Pour Piano, Contrebasse et Batterie. Par JOPLIN SCOTT. Arr. : P. Dendievel_G. Storm / Niveau : Fin 3ème Cycle / Recueil / Contrebasse, Piano et Batterie
16.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| In My Garden 1 (IGUDESMAN
ALEKSEY) Violon et Piano Universal Edition
Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY...(+)
Take A Walk Through Aleksey Igudesman'S Imaginary Garden!. Par IGUDESMAN ALEKSEY. Aleksey Igudesman might reasonably be described as a modern day Victor Borge. With his cabaret partner, Hyung-ki Joo, he has toured concert halls all over the world, wringing all that is humorous out of classical music with just the basic tools of violin and piano. 'In my Garden 1” shows Igudesman in another light, that of a violin teacher, providing excellent material for younger violin students. Each piece depicts a fruit or vegetable to be found growing in the garden and includes a short poem (in English, French and German) and pictures to inspire the pupil and help them to interpret the music.
But these are not just fun to play - they conceal useful study material to improve technique like staccato or lyrical smooth bowing. Clever use of double stops (one note always an open string) will help the student make a more rewarding sound and inspire confidence.
Grade 1 students can enjoy some of the pieces and still be dipping into it a year or two later. A piano part is included to make these pieces ideal for an end-of-term concert and, for more ideas, Igudesman has also depicted animals in similar fashion in his two volumes 'In the Zoo”./ Recueil / Violon et Piano
23.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| More Tunes For My Violin Violon et Piano Boosey and Hawkes 13.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Serenade Violon et Piano Schott
The Violinissimo series attempts to make the rich repertoire of five centuries o...(+)
The Violinissimo series attempts to make the rich repertoire of five centuries of violin music accessible for lessons, concerts and private music-making. The anthology Serenade contains a selection of 36 intermediate arrangements for violin and piano which can be used for performance purposes to enlarge the educational standard repertoire and make it more interesting and may therefore be a constant companion of every advanced pupil in his/her lessons. / Violon Et Piano
26.70 EUR - vendu par LMI-partitions Délais: En Stock | |
| Concert Repertoire For
Violin (COHEN MARY) Violon et Piano - Facile Faber Music Limited
Cohen Mary (Editor). Par COHEN MARY. Concert Repertoire for Violin combines imag...(+)
Cohen Mary (Editor). Par COHEN MARY. Concert Repertoire for Violin combines imaginative arrangements with original pieces, all of which have been carefully selected and written for players of Grade 4-7 standard. The pieces are varied and fun and will help players to improve technically as they move towards tackling the more advanced repertoire. Air From Suite In D BWV 1068 (JS Bach) Badinerie From Suite In B Minor BWV 1067 (JS Bach) Chanson De Matin (Elgar) Corrente From Sonata Op 2 No 4 RV 20 (Vivaldi) Habanera (Bizet) Hungarian Dance No 4 (Brahms) Serenade (Solo) (Sculthorpe) Serenade (Tchaikovsky) Sicilienne (Paradis) Solveig's Song (Grieg) Torch Dance (German) Without Care (Reinecke) / Niveau : Assez Facile / Date parution : 2006-10-26/ Répertoire / Violon et Piano
16.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Piano Trio #3 In F Minor
Op. 65 Piano Trio: piano, violon, violoncelle G. Henle
Dvo?ák worked longer and more intensively on this Trio than on just about any o...(+)
Dvo?ák worked longer and more intensively on this Trio than on just about any other chamber music work. After his first successes with pieces inspired by Czech folk music, namely the popular Slavonic Dances (HN 757 and 918), he now wanted to prove himself as a composer of the highest order. This is why in the following summer, he thoroughly reworked the Trio that he had written within eight weeks in spring 1883 before giving it to his publisher. Although Brahms' music was the undeniable model for the new work, it did not hinder the unfolding of a very personal tone that blends expressiveness and passion. As with the 'Dumky? Trio op. 90 (HN 799), Andreas Groethuysen is once again responsible for the fingerings of the piano part. / Piano
41.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| 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: 2-5 jours - En Stock Fournisseur | |
| Sonate Pour Piano Forte
Et Violon Op. 24 Violon et Piano Barenreiter
En mai 1802, le journal musical général allemand Allgemeine musikalische Zeitu...(+)
En mai 1802, le journal musical général allemand Allgemeine musikalische Zeitung fit l'éloge des sonates pour violon op. 23 et 24 comme étant « ...parmi les meilleures que Beethoven ait écrites, c'est-à-dire qu'elles figurent parmi les meilleures du monde. L'esprit original, fougueux et audacieux du compositeur... devient de plus en plus apparent maintenant... » Le temps pendant lequel Beethoven compose sa Sonate de Printemps (Spring Sonata), qui deviendra de plus en plus populaire au cours du XIXe siècle, est marqué par une montée effrénée de la créativité compositionnelle. « Je ne vis que dans mes notes, et avec un travail à peine terminé, un autre est déjà en cours ; la façon dont j'écris maintenant m'amène souvent à travailler sur trois, quatre choses en même temps. », écrit-il dans une lettre à Wegeler le 29 juin 1801. Mais pendant ce temps, Beethoven souffre également de la détérioration rapide de son audition, un fait qu'il essayait toujours de cacher et que l'envoûtante Sonate de Printemps ne dévoile certainement pas.
14.80 EUR - vendu par Woodbrass Délais: Sur commande | |
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