Dowani 3 Tempi Play est long une méthode efficace et éprouvée par le temps de pratiquer qui offre plus que conventionnels jouent au long éditions. Dowani 3 Tempi Play permet Outre-vous pour apprendre un travail de manière systématique et avec un accompagnement à différents tempi.La première chose que vous entendez sur le CD est la version de concert dans un enregistrement de première classe avec instrument soliste et orchestre, continuo, ou l'accompagnement au piano. Puis le piano ou le clavecin d'accompagnement s'inscrit dans le tempo lent et moyen à des fins pratiques, avec l'instrument soliste entendre en sourdine au tempo lent. Enfin, vous pouvez jouer au tempo d'origine pour l'accompagnement d'un orchestre, le piano, ou basso continuo.Toutes les versions figurant sur le CD ont été enregistrés en direct par des solistes de renom, accompagnateurs, et des orchestres. Il n'y a aucun sons synthétisés dans une édition Dowani! / Violon Et Orchestre / 40 pages / niveau : Moyen / Partition Cd

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 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 Orchestre

My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre

The two-movement work was inspired by the title of a book by Jacques Roubaud and dedicated to Violinist Gidon Kremer whose playing and musicianship also inspired the work.Kaija Saariaho is a contemporary Finnish composer living and working in Paris and Graal Théâtre is one of her principal works, frequently performed in spite of its ferocious virtuosic requirements.Unlike many of her other works, Graal Théâtre has no electronic extensions, but explores the relationship fully between soloist and Orchestra.She gained international renown for her first opera l'Amour du Loin and continues a prolific compositional life with a wide range of international performances. / Violon Et Orchestre

Les oeuvres de musique de chambre sont parmi les plus réussis de Hindemith oeuvres instrumentales des années 1920. Lors de la première mondiale de musique de chambre n . 1, le public a même exigé la répétition de la troisième et quatrième mouvements. Mais le titre est trompeur: les pièces individuelles plutôt ont concertante caractéristiques soliste que s'incliner devant les traditions de musique de chambre. Enfin et surtout, l'épithète 'Concerto pour violon' dans le titre de musique de chambre n . 4 Indique ce fait. / Violon Et Orchestre

Par MOZART WOLFGANG AMADEUS. Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775, which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart, who still occupied the post of concertmaster to the Prince-Archbishop, was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773. The Piano reduction of Mozart ’s G Major Violin Concerto is easier to play, uncluttered and practical with page turns where you need them and where necessary fold-out pages. The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section. A prepared performance part is also included with bowings, fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas, ”Eingänge” and fermata embellishments by Eugène Ysaÿe, Leopold Auer, Sam Franko and Martin Wulfhorst. This collection offers players a spectrum of styles available in no other publication. Urtext of the New Mozart Edition Full score and parts (BA4865), Violin and Piano reduction (BA4865-90) and study score format 22. 5 x 16. 5cm (TP272) available for sale./ Répertoire / Violon et Orchestre

Par VINE CARL. Carl Vine’s atmospheric Violin Concerto (2011) creates a rich and multi-faceted relationship between soloist and orchestra. Unfolding over two finely-crafted movements of roughly equal length, the 23-minute work often uses the orchestra sparingly, with players from the orchestra joining the soloist in delicate chamber-music textures. / Scores / Répertoire / Violon et Orchestre

Op de Concerto pour violon de Korngold 35 est l'un des concertos violon plus souvent jouées dans l'histoire de la musique. Il n'y a pratiquement aucun virtuose du violon et pratiquement aucun chef d'orchestre exceptionnel qui n'a pas de ce travail dans leur répertoire. Maintenant un handy, eas / Violon Et Orchestre