An exciting collection of traditional gypsy music from Romania Hungary and Transylvania selected and arranged by Edward Huws Jones. This broad range of traditional repertoire that will enable you to create your very own gypsy gathering. Alternatively it is well suited for the ceilidh or barn dance.This complete edition includes a violin part keyboard accompaniment with optional violin accompaniment easy violin and guitar.

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.

Transcriptions for Violin and Piano. This long-awaited collection by internationally renowned violinist Simon Fischer offers brilliant additions to the violin repertoire. His transcriptions follow in the tradition of romantic arrangements from the 19th and 20th centuries and are intended for current performance practice on modern instruments. Including transcriptions of popular melodies and less well-known music, this collection provides virtuosic as well as easier repertoire suitable for both encores and recital pieces.

Pavana – Capricho is one of the last pieces from Isaac Albeniz’s early period before he turned to Spanish influences – a style that would characterise the rest of his compositions. In this earlier period Albeniz who was a child prodigy on the Piano composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau Bach Beethoven Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell a leading figure in the development of nationalist Spanish music.Pavana-Capricho is graceful andlight-hearted at the same time. The playfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for Violin and Piano and with a performance time of ca. 3:30 this piece of Romantic chamber-music is a perfect addition to any concert programme.

per violino e pianoforte-With five tempo variations and slow and fast sections this famous and celebrated piece was Monti's only outright success. For many people this enthralling piece epitomises the character of the Czardas a traditional Hungarian dance. This version for Violin and Piano.

Irish Air for Violin-An Chuilfhionn or The Coolin is a wonderful Irish Air. A traditional recognisable and popular Irish melody arranged for Violin with Piano accompaniment by Michele Esposito.

Christmas Music from Europe and America-Christmas is a wonderful time for music and in this book Christmas fiddlers can draw on a rich and varied repertoire. This collection spans seven centuries from the boisterous medieval Song Of The Ass to contemporary tunes like Sleigh Ride taking in such traditional carols as Away In A Manger and O Little Town Of Bethlehem along the way. Arranged for Violin with Guitar Accompaniment.

The uncomplicated intermediate arrangements call for chordal movement in the right hand with simpler often single-note action in the left. Arranger C Paul Herfurth is the creator of the popular ‘A Tune A Day’ series. SeparateViolin part is included. Christmas Carols for Violin and Piano gives a delightful new twist to the term ‘Christmas bows’! Encourage your favourite young or amateur Violinist and pianist to put Christmas in the air with theseshort arrangements of favourite Christmas carols. The collection includes hymnbook standards like Oh Little Town of Bethlehem Silent Night It Came Upon A Midnight Clear Away in a Manger as well as jolly Jingle Bells andmoving Cantique de Noel among others. UK buyers should note that the melodies for Away In A Manger (‘Sweet Afton’) It Came Upon A Midnight Clear (‘Carol’) and Oh Little Town of Bethlehem (‘Forest Green’) vary from thetraditional UK melodies.

The series 'Bärenreiter?s Concert Pieces' presents Concerto In D Op.22 (Student Concerto) by Friedrich Seitz.All editions contain a solo violin part and a piano part for the piano accompanist. The series is edited by Kurt Sassmannshaus the internationally-renowned violin teacher and co-author of the Sassmannshaus violin school tradition. His forewords introduce these little gems and include tips for successful first concerts. These editions form an ideal continuation of the Sassmannshaus violin school tradition and can be used in parallel from the third volume onwards or alongside any violin method. The series will be continued and will introducestudents to more demanding repertoire with a gradually increasing level of difficulty.

for Violin and 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 havedeveloped 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

For Violin and Piano-25 tangos by the revolutionary tango musician and composer Astor Piazzolla arranged for Violin and Piano. These crowd-pleasing tangos borrow from classical jazz and Latin traditions. The collection includes Piazzolla's most famous tangos Libertango and Oblivio.

with marked and unmarked string part-Just like many other violin virtuosos of the 19th century Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folkmusic traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness and are undoubtedlyamong his most successful compositions. In masterly fashion Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate???s Zigeunerweisen(HN 573) a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.

Bärenreiter's Easy Concertos is a new series of the most popular short concertos for violinists who want to begin performing in public. The series begins with works by the composers Rieding Seitz and Vivaldi which are clear favourites amongst the first solo concertos played.The editions include a solo Violin part and a Piano reduction for the accompanist. The series is edited by Kurt Sassmannshaus the internationally renowned Violin teacher and co-author of the Sassmannshaus Violin school tradition. His forewords introduce these little gems and include tips to ensure successful first concerts.These volumes form an ideal continuation of theSassmannshaus school editions and can be used in parallel from volume three onwards: They can also be used to supplement any Violin method. This series will be continued and will introduce students to more demanding repertoire with an increasing level of difficulty.