Trumpet, piano (original scoring: trp(2trp),str,bc)

SKU: BR.MR-2240

Composed by Giuseppe Torelli. Edited by A. Knipschild and C. I. Sanders. Solo instruments; Softcover. Musica Rara. Symphony; Solo concerto; Renaissance/early Baroque; Baroque. Piano reduction. 40 pages. Breitkopf and Haertel #MR 2240. Published by Breitkopf and Haertel (BR.MR-2240).

ISBN 9790004487884. 9 x 12 inches.

Giuseppe Torelli was born in Verona, Italy in 1658. He was a famous violinist, teacher, and composer. His career allowed travels to Germany and Vienna, but centered in Bologna, Italy, where he was a violinist and violist in the Accademia Filarmonica and later, worked as a musician at the Basilica San Petronio. Torelli was an especially important figure in the development of the instrumental concerto, with particular emphasis on both the solo concerto and concerto grosso forms.The Sinfonia in D Major (G21) is a piece originally scored for one or two trumpets, first and second solo violins, first and second ripieno violins, solo viola, ripieno viola, violoncello ripieno, violoncello continuo, violone ripieno, and organo.The exact date of the composition is not known, but the work is presumed to have been completed in the latter period. This edition is based on the autograph manuscript located in the musical archives at the Basilica San Petronio in Bologna, Italy.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS135

In the style of Pugnani. Composed by Fritz Kreisler. Arranged by Deborah Baker Monday. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. 12+16+16+10+10+10 pages. Duration 4 minutes, 28 seconds. Carl Fischer Music #CAS135. Published by Carl Fischer Music (CF.CAS135).

ISBN 9781491159248. UPC: 680160917822.

Fritz Kreisler (1875-1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as pastiches, which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today. Tempo di Minuetto is in the style of Gaetano Pugnani. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist. Tempo di Minuetto is a work for violin and piano which is a standard in the solo repertoire. In this arrangement, the solo violin part has been integrated into the string orchestra. The parts have been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective. The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.
Fritz Kreisler (1875–1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as “pastiches,” which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today.Tempo di Minuetto is in the style of Gaetano Pugnani. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist. Tempo di Minuetto is a work for violin and piano which is a standard in the solo repertoire.In this arrangement, the solo violin part has been integrated into the string orchestra. The parts have been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective.The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Composed by Jascha Heifetz. Edited by Endre Granat. LKM Music. Softcover. 64 pages. Lauren Keiser Music Publishing #S510010. Published by Lauren Keiser Music Publishing

String quartet

SKU: BO.B.3388

Composed by Jordi Cervello. Instrumental Sets. Duration 10:12. Published by Editorial de Musica Boileau (BO.B.3388).

English comments:
A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.

Co mentarios del Espanol:
A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.

41 Traditional Pieces. Edited by Ros Stephen. Strings, Repertoire, Collections. Schott World Music. Argentinian Tango and Folk Tunes for Violin. Softcover Book and CD. Schott Music #ED13379. Published by Schott Music

By Adolphe Blanc. For flute, cello (viola/basset horn) and piano. Winds, Strings and Piano. Classical composition written during the Romantic Period. Classical. Set of parts

(Classical Melodies for Violin and Piano). Arranged by Doris Preucil. For Violin and Piano. Book; CD; Masterworks; String - Violin Studies or Collection; Suzuki. Funeral; Masterwork Arrangement; Sacred; Wedding. 64 pages. Published by Alfred Music

Violin 2 (Solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-16110-16

Urtext from the new Complete Edition (G. Henle Verlag). Composed by Johannes Brahms. Edited by Linda Correll Roesner and Michael Struck. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo concerto; Romantic; Late-romantic. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 16110-16. Published by Breitkopf and Haertel (BR.OB-16110-16).

ISBN 9790004348031. 10 x 12.5 inches.

Johannes Brahms's only violin concerto, one of the most important violin concertos of the 19th century, is now a central repertoire piece. This fact is all the more notable, as, by his own account, Brahms understood all too little about the instrument. The concerto was composed at Worthersee during the summer of 1878 in collaboration with Joseph Joachim, a leading contemporary violinist. The solo part is extremely demanding, with really unusual difficulties. This circumstance did not go unnoticed by the critics of the first performance: Even to Joachim, the battled-seasoned wrestler, the technically difficult and tricky solo part was to be mastered only with obvious effort. Evidencing this close collaboration between composer and performer is not only the work's genesis and publication history, together with its dedication to Joachim, but also its solo cadenza. Based on the New Brahms Complete Edition, this Urtext edition includes both the printed version of Joachim's cadenza as well as its shorter version arranged in 1885 by the violinist Marie Soldat.

Chamber Music Piccolo

SKU: PR.114422450

Composed by Johann Sebastian Bach. Arranged by Nicola Mazzanti. Sws. Full score. 20 pages. Duration 17 minutes. Theodore Presser Company #114-42245. Published by Theodore Presser Company (PR.114422450).

ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.

Bach’s colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of music’s greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzanti’s heroic adaptation of the complete Partita is the culmination of many years’ work, and the only transcription specifically for the piccolo’s unique range.
THE INSPIRATIONEver since my childhood, Johann Sebastian Bach’s solo violin music (like his works for solo cello) has always held a charm and mystery for me. There’s something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partita’s movement titles in Italian) is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.”Transcribin g and performing Bach’s PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a “small” instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bach’s presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bach’s string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bach’s original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates “arpeggio” were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.

10 Easy Pieces for violin And Piano. Composed by Aleksey Igudesman. Score and part(s). 40 pages. Universal Edition #UE36771. Published by Universal Edition

(Revised Edition). By Franz Liszt (1811-1886). For Solo Violin. 32 pages. Published by Carl Fischer

Violin 2 (solo: vl - 2.0.0.0 - 2.0.0.0 - str)

SKU: BR.OB-4854-16

Composed by Wolfgang Amadeus Mozart. Stapled. Orchester-Bibliothek (Orchestral Library). From a letter sent by Leopold Mozart to his son, it would appear that Wolfgang Amadeus delivered this Adagio as a single movement to the Salzburg violinist Antonio Brunetti in 1776 after Brunetti found the original middle movement too scholarly. . Solo concerto; Classical. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 4854-16. Published by Breitkopf and Haertel (BR.OB-4854-16).

ISBN 9790004323045. 10 x 12.5 inches.

There is considerable evidence to support the claim that the present Adagio in E major is an alternative middle movement intended for the well-known A-major Violin Concerto K. 219. Ultimately, Mozart decided to leave the work (written in 1775) as it was, without change.The violin part of the present edition contains - also in the tutti sections - the upper part of the orchestra, thus leaving it up to the soloist to decide whether he should pause here or join in.

From a letter sent by Leopold Mozart to his son, it would appear that Wolfgang Amadeus delivered this Adagio as a single movement to the Salzburg violinist Antonio Brunetti in 1776 after Brunetti found the original middle movement too scholarly..

Selections from the Student Repertoire. By Barbara Barber and Trudi Post. String - Violin Studies or Collection; Suzuki. Solos for Young Violinists. CD. Alfred Music #00-8011. Published by Alfred Music

(A Second Book of Studies for Young Violinists). By Paul de Keyser. For Violin. Book; Method/Instruction; String - Violin Studies or Collection. Faber Edition. Published by Faber Music

Violin - advanced

SKU: BT.EMBZ8069

Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 96 pages. Editio Musica Budapest #EMBZ8069. Published by Editio Musica Budapest (BT.EMBZ8069).

Hungarian-English-Germ an-French.

Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.

Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.

In forme of Etudes, in all 24 keys. Composed by Jacques Pierre Joseph Rode. Edited by Ulrich Groener. Arranged by Ida Bieler. This edition: Saddle stitching. Sheet music. String. 84 pages. Schott Music #ED20584. Published by Schott Music

Violin and orchestra

SKU: BO.B.3340

Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340).

ISBN 9788480207591.

Engl ish comments:
My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author

Comentari os del Espanol:
A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.

Composed by Cesar Auguste Franck (1822-1890). Edited by Douglas Woodfull-Harris. This edition: urtext edition. Paperback. With an introduction by Gudula Schutz. Score and part. Published by Baerenreiter Verlag (BA.BA9425).