Par WILSON PETER. 'Space Stringpops' is designed to provide enjoyable, yet worthwhile study for the intermediate string player. Within each piece is a different musical 'episode' to stimulate the imagination. The player is taken on a complete musical journey starting from 'Mission Control' and 'Chromatic Countdown' into space where various cosmic adventures await./ Recueil / Violon et Piano

Arrangeur: Watson Forbes. Par SCHUBERT FRANZ. Strings/ Répertoire / Violon et Piano

Contemporary works for violin and piano. Par . Fennica Gehrman the music publisher pays tribute to its composers with this 20th-anniversary collection of commissions for violin and piano. Stringendo - Contemporary works for violin and piano (2022) is a collection of ten pieces, which vary greatly as regards their genesis. That by Harri Wessman is playful and exhilarating; Mikko Heiniö wrote his on Women's Day, while the duets by Kalevi Aho and Matthew Whittall are tributes to the late Jaakko Kuusisto. Einojuhani Rautavaara is also represented, in an arrangement for violin and piano of his plaintive, melodic Sydämeni laulu (The Song of my Heart). The title of Lotta Wennäkoski's work, Vestige, is a fitting symbol for the whole collection. Short introductions to the pieces by their composers are included in the collection in English, Finnish, and Swedish. Contents Kalevi Aho (b. 1949): Le Tombeau de J. K. Einojuhani Rautavaara (1928-2016): Sydämeni laulu - Song of my heart Mikko Heiniö (b.1948): Naisten päivä - Women's Day Jyrki Linjama (b. 1962): De Profundis I Lotta Wennäkoski (b. 1970): Vestige Matthew Whittall (b.1975): Waiting to hear Olli Kortekangas (b. 1955): Capriccietto Harri Wessman (b.1949): Giocoso Veli-Matti Puumala (b. 1965): Édera IV Kimmo Hakola (b.1958): A Double Jubilee / Date parution : 2022-12-12/ Répertoire / Violon et Piano

The Belgian Charles Auguste de Bériot (1802-1870) was not only a violinist but also a teacher and composer.'Scène de Ballet?, perhaps his best-known composition, is a favourite with violin students. One such student was the young Itzhak Perlman, who included it in his collection 'Concertos from my Childhood?. The piece captivates with its beautiful melodies and refined rhythms.The EditorKurt Sassmannshaus is a world-famous violin teacher with a professorship in Cincinnati (Ohio, USA). He is also the founder of the Great Wall Music Academy, an international summer camp for young string players in China. He continues the family tradition of 'Early Start on the Violin?, founded by his father Egon Sassmannshaus and published by Bärenreiter with editions in German and English.The series 'Bärenreiter's Concert Pieces? includes works for solo strings, usually the violin, but also viola and cello, all with piano accompaniment. / Violon Et Piano

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

a cura di - edited by Rina You. Par TIRINDELLI PIER ADOLFO. The edition of the Andante e Polacca for violin and piano published here was realised from an autograph manuscript held in the library of the Conservatory of Santa Cecilia in Rome. An inspired melodic vein, with a cantability typical of Late Romantic Italian compositions, characterises the piece, especially in the first part. The Polacca distinguishes itself for its virtuosity: rapid scales, brilliant bowings and open string passages keep the bowed-string player engaged during the second and longest part of the piece. The recovery of this composition has occurred during a period which gives particular importance to the rediscovery of works composed in Italy around the turn of the twentieth century, rarely performed in concert series, which can only be fully appreciated through their promotion and dissemination in the form of musical editions and recordings. / Niveau : Avancé / Répertoire / Violon et Piano

Par SCULTHORPE PETER. 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. ' Prendre la Collection classique de plomb ' dispose d'arrangements idiomatiques des pièces classiques bien connus. Ces pièces encouragent la progression de la technique et instrumentistes de débutants apprécieront vraiment d'apprentissage et de leur exécution. Les étudiants ont le choix de jouer avec CD, Piano ou guitare et toutes les pièces sont entièrement intégrés avec des arrangements pour les autres instruments de la série, ce qui en fait la ressource idéale pour les groupes scolaires et les petits ensembles. Utilisé comme un livre solo ces pièces encouragera la progression technique et la confiance en jouant. Pièces idéales pour la performance, ou juste pour le plaisir. Table des matières : Air sur un G String (JS Bach) - Ave Maria (Schubert) - La Donna E Mobile de.../ Recueil / Violon et Piano