In cor piu non mi sento M.S. 44 Violin Solo. Composed by Nicolo Paganini (17...(+)
In cor piu non mi sento
M.S.
44 Violin Solo. Composed
by
Nicolo Paganini
(1782-1840).
Edited by Italo Vescovo.
String Solo. Classical.
Softcover. 40 pages.
Ricordi
#NR14183100. Published by
Ricordi
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautif...(+)
Violin - intermediate
SKU:
BT.DHP-1185780-400
The World's Most
Beautiful Arias with Full
Orchestra Play Along.
Opera or Operetta. Book
with CD. Composed 2018.
36 pages. De Haske
Publications #DHP
1185780-400. Published by
De Haske Publications
(BT.DHP-1185780-400).
ISBN 9789043153836.
English-German-French-Dut
ch.
For over three
hundred years, great
opera singers have held
entire audiences under
their spell. In so doing,
they can call on an
etensive repertoire of
arias by many important
composers. Live at the
Opera now makes this
precious treasure trove
available to
instrumentalists, too.
Twelve of the most
beautiful operatic
melodies of all time have
been specially arranged
for violin and are
performed by the renowned
violinist Maximilian
Lohse. The accompanying
audio is performed by an
authentic opera
orchestra, which also
includes a play-along
version without soloist.
Additionally, this unique
collection also includes
background info and tips
on performance for
theindividual arias.
Al meer dan
driehonderd jaar weten
grote operazangers en
-zangeressen hun publiek
te betoveren. Wanneer ze
voor ons op het podium
staan, vertolken ze
melodieën die behoren
tot de allermooiste van
de klassieke muziek.
Live at the opera
maakt deze schat aan
melodieën nu ook
toegankelijk voor
instrumentalisten: twaalf
Italiaanse
opera-ariaâ??s zijn
speciaal gearrangeerd
voor viool en opgenomen
door de gerenommeerd
violist Maximilian Lohse.
Een echt operaorkest
neemt de begeleiding voor
zijn rekening, die op de
meespeelversie ook zonder
solo-instrumentalist
beschikbaar is. Verder
zijn in deze unieke
collectie
muziekhistorische
achtergrondinformatie bij
iedere aria entips voorde
uitvoering opgenomen.
Schon seit mehr
als dreihundert Jahren
ziehen groÃ?e
Opernsängerinnen ein
ganzes Opernpublikum in
seinen Bann. Dabei
können sie sich aus
einem umfangreichen
Arienrepertoire aus der
Feder zahlreicher
bedeutender Komponisten
bedienen. Live at the
Opera macht diesen
kostbaren Melodienschatz
nun auch
Instrumentalisten
zugänglich: 12 der
schönsten
Opernmelodien aller
Zeiten wurden hier eigens
für Violine
eingerichtet und werden
von dem renommierten
Geiger Maximilian Lohse
vorgespielt. Ein echtes
Opernorchester
übernimmt dabei die
Begleitung, welche
zusätzlich auch in
einer Mitspielversion
ohne den Solisten zur
Verfügung steht.
Hintergrundwissen
undAusführungstipps zu
den einzelnen Arien sind
weitere Pluspunkte dieser
einzigartigen Sammlung.
M.S. 54 Critical Edition. Composed by Nicolo Paganini (1782-1840). String Solo...(+)
M.S. 54 Critical Edition.
Composed by Nicolo
Paganini
(1782-1840). String Solo.
Classical. Softcover. 16
pages. Ricordi
#NR14199900.
Published by Ricordi
Violin - Beginning SKU: MB.99292FM Composed by Craig Duncan. Saddle-stitc...(+)
Violin - Beginning
SKU: MB.99292FM
Composed by Craig Duncan.
Saddle-stitched,
Classical, French
Language, Children and
Young Beginner, Method,
Folk. First Lessons.
Style. Book and online
audio. 32 pages. Mel Bay
Publications, Inc
#99292FM. Published by
Mel Bay Publications, Inc
(MB.99292FM).
Violin SKU: BT.HITPCPTVIOL01 Composed by Bruno Garlej. Collection Rama. B...(+)
Violin
SKU:
BT.HITPCPTVIOL01
Composed by Bruno Garlej.
Collection Rama. Book
with CD. Composed 2014.
96 pages. Hit Diffusion
#HITPCPTVIOL01. Published
by Hit Diffusion
(BT.HITPCPTVIOL01).
Violin SKU: M2.MOS-20047 Sonate pour un Violon Seul. Composed by C...(+)
Violin
SKU:
M2.MOS-20047
Sonate pour un Violon
Seul. Composed by
Carl August Pesch. Edited
by Gotz Bernau.
Performance book.
Möseler Verlag #MOS
20047. Published by
Möseler Verlag
(M2.MOS-20047).
ISBN
9790203710714.
Sona
te B-dur: Es gibt nur
wenige Werke fur
Solovioline aus der
Mozart-Zeit; das macht
diese
Erstveroffentlichung
interessant. Die grosse
Zeit der Violinvirtuosen
Walther, Biber, Westhoff,
Pisendel und anderer
hatte mit Johann Sebastin
Bachs Solosonaten und
-partiten einen Abschluss
gefunden. Aus der
vorklassischen Periode
kennen wir ausser vielen
Unterrichtswerken fur
Violine nur wenige
konzertante Kompositionen
fur eine Violine allein.
Dazu zahlen insbesondere
die Sonaten von Friedrich
Wilhelm Rust und Johann
Friedrich Reichardt,
beide aus dem Umkreis
Franz Bendas, die aber
deutlich an barocke
Vorbilder anknupfen. -
Die hier vorgelegte
Sonate in B-Dur von Pesch
ist ein in beiden Satzen
fast durchgangig
zweistimmiges Stuck. Die
Tonart B-Dur mag zunachst
etwas befremden, ist aber
nicht ungewohnlich, denn
auch Solowerke von
Westhoff und Rust stehen
in dieser Tonart; sie
erweist sich als durchaus
geigerisch und klangvoll
in diesem ungewohnlichen
Werk. Die in vielen
Veroffentlichungen
wiedergegebenen
Lebensdaten von Pesch,
die aus unbekannter
Quelle stammen und immer
wieder benutzt wurden,
sind durchweg falsch. Aus
der Eintragung im
Kirchenbuch der Gemeinde
St. Blasius in
Braunschweig ist der 27.
Februar 1791 als
Sterbedatum eindeutig
festgestellt. Die
Braunschweigische
Anzeigen schreiben Am
27sten Februar ...
verstarb ... Herr Carl
August Pesch im 57ten
Jahr seines Alters. Im
57ten Jahr bedeutet, dass
er 56 Jahre alt wurde,
also 1735 geboren ist.
Uber seine Herkunft ist
bisher wenig bekannt:
Nach 1760: Eintritt in
den herzoglichen Dienst
in Braunschweig; 1763:
Leopold Mozart erwahnt
Pesch unter den Personen,
die er im Gasthof
Goldener Lowe in
Frankfurt/Main getroffen
hat; 1765: Reise mit dem
Herzog nach London, dort
Veroffentlichung einiger
Werke; 1766/1767: Reise
mit dem Herzog nach
Italien; 1776 Konzerte in
Frankfurt/Main.
Leduc.
CD. 60 pages. Alphonse
Leduc #AL30475. Published
by Alphonse Leduc
(HL.48186287).
UPC:
888680839048. 9x12
inches.
“Les
cahiers Charlier/Sourisse
- jazz (livre avec cd)
pour violon, initiation
et perfectionnement
à l'improvisation
(texte fr/ang/all/esp).
Par Charlier aux
éditions Leduc.
Méthode
instrumentale pour
Violon&rdquo.
Violin - intermediate SKU: BT.DHP-1125238-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125238-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125238-400.
Published by De Haske
Publications
(BT.DHP-1125238-400).
Violin SKU: HL.50603952 MS83. Composed by Nicolo Paganini. String ...(+)
Violin
SKU:
HL.50603952
MS83. Composed by
Nicolo Paganini. String
Solo. Classical,
Virtuoso. Softcover. 48
pages. Ricordi #NR142388.
Published by Ricordi
(HL.50603952).
ISBN
9781705162583. UPC:
196288062684.
9.0x12.0x0.161
inches.
The Sonata
à violin solo (M.S.
83) is an early work by
Paganini that can be
ascribed to the years
1796-1800, a period which
includes works such as
the posthumous Grande
concerto (M.S. 75), the
Inno patriottico con
variazioni (M.S. 81) and
the Tema variato (M.S.
82)for violin. There are
no doubts as to the
authenticity of the work:
the highly virtuosic
experimental writing, the
indications
“Organettoâ€
and
“Flagiolettoâ€
and the use of the fourth
string are all
distinctive traits found
in Paganini's writing
from this period which
link the Sonata to the
Inno patriottico con
variazioni and the Tema
variato. The most
significant
characteristics of this
composition are its
length and the
three-movement structure
that connect it to the
Classical style, at least
far as the first movement
is concerned: it is
written in sonata form,
something rarely seen in
Paganini's solo violin
works.
(Violin). By Charles Dancla (1817-1907). Edited by Julia M?ller-Runte, Martin M?...(+)
(Violin). By Charles
Dancla (1817-1907).
Edited by Julia
M?ller-Runte, Martin
M?ller-Runte, Julia M,
and Martin M. For Violin.
Schott. Softcover. 52
pages. Schott Music
#ED21126. Published by
Schott Music
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Violin - intermediate SKU: BT.DHP-1125237-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125237-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125237-400.
Published by De Haske
Publications
(BT.DHP-1125237-400).
ISBN 9789043145565.
9x12 inches.
German.
Double
Stopping is a modern
method designed to teach
violinists who are fairly
confident in the 1st
position how to play
dyads on two strings as
well as double stops.
This is achieved through
38 exercises and 37
performance pieces in
various musical styles.
The various dyads and
double stops are offered
in a coherent and
structured way, and
indicated in different
colours. The performance
pieces can be played
without accompaniment,
with CD accompaniment or
as a duet, with the
second violin parts
provided as PDF files on
the CD.English edition:
DHP 1125089-400 Double
Stops for
Violin
Doub
le Stopping is een
eigentijdse methode om
violisten met een ruime
speelervaring in de
eerste positie
samenklanken van twee
snaren en dubbelgrepen te
leren. Dit gebeurt door
middel van 38 oefeningen
en 37 speelstukkenin
diverse muzikale stijlen.
De verschillende
samenklanken en
dubbelgrepen worden
overzichtelijk en
gestructureerd aangeboden
en met verschillende
kleuren aangeduid. De
speelstukken kunnen zowel
onbegeleid , met
cd-begeleiding alsmet een
tweede vioolstem worden
uitgevoerd. De duetten
zijn geleverd als uit te
printen pdf-files op de
cd.Nederlandse uitgave:
DHP 1125236-400
Dubbelgrepen voor
viool
Doppe
lgriffe auf der
Violine richtet sich
an Geigenschüler, die
sich sicher in der ersten
Lage bewegen, und leitet
zum Spiel von
Zusammenklängen mit
zwei Saiten und
Doppelgriffen über.
Anhand von 38 Ã?bungen
und 37 Spielstücken in
verschiedenen Musikstilen
führt diese moderne
Methode übersichtlich
und strukturiert in die
diversen
Zusammenklänge und
Doppelgriffe ein.
Zusätzliche farbige
Markierungen
unterstützen dabei den
Lernprozess. Die
Spielstücke können
sowohl unbegleitet als
auch mit einer zweiten
Geigenstimme gespielt
werden. Die Duette sind
als PDF-Dateien zum
Ausdrucken auf der CD
enthalten.
Méthode de violon. Composed by Wim Meuris. Speel viool! Method. Book with Onl...(+)
Méthode de violon.
Composed by
Wim Meuris. Speel viool!
Method. Book with Online
Audio. Composed 2022. 60
pages. De Haske
Publications
#DHP 1104949-404.
Published by
De Haske Publications
Violin - intermediate SKU: BT.DHP-1125089-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125089-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125089-400.
Published by De Haske
Publications
(BT.DHP-1125089-400).
ISBN 9789043145589.
9x12 inches.
English.
Double
Stopping is a modern
method designed to teach
violinists who are fairly
confident in the 1st
position how to play
dyads on two strings as
well as double stops.
This is achieved through
38 exercises and 37
performance pieces in
various musical styles.
The various dyads and
double stops are offered
in a coherent and
structured way, and
indicated in different
colours. The performance
pieces can be played
without accompaniment,
with CD accompaniment or
as a duet, with the
second violin parts
provided as PDF files on
the CD.
Double
Stopping is een
eigentijdse methode om
violisten met een ruime
speelervaring in de
eerste positie
samenklanken van twee
snaren en dubbelgrepen te
leren. Dit gebeurt door
middel van 38 oefeningen
en 37 speelstukkenin
diverse muzikale stijlen.
De verschillende
samenklanken en
dubbelgrepen worden
overzichtelijk en
gestructureerd aangeboden
en met verschillende
kleuren aangeduid. De
speelstukken kunnen zowel
onbegeleid, met
cd-begeleiding alsmet een
tweede vioolstem worden
uitgevoerd. De duetten
zijn geleverd als uit te
printen pdf-files op de
cd.Nederlandse uitgave:
DHP 1125236-400
Dubbelgrepen voor
viool
Doubl
e Stops for Violin
richtet sich an
Geigenschüler, die
sich sicher in der ersten
Lage bewegen, und leitet
zum Spiel von
Zusammenklängen mit
zwei Saiten und
Doppelgriffen über.
Anhand von 38 Ã?bungen
und 37 Spielstücken in
verschiedenen Musikstilen
führt diese moderne
Methode übersichtlich
und strukturiert in die
diversen
Zusammenklänge und
Doppelgriffe ein.
Zusätzliche farbige
Markierungen
unterstützen dabei den
Lernprozess. Die
Spielstücke können
sowohl unbegleitet als
auch mit einer zweiten
Geigenstimme gespielt
werden. Die Duette sind
als PDF-Dateien zum
Ausdrucken auf der CD
enthalten.Deutschsprachig
e Ausgabe siehe DHP
1125237-400
Doppelgriffe auf
derVioline
Violin - intermediate SKU: BT.DHP-1125236-400 Composed by Nico Dezaire. D...(+)
Violin - intermediate
SKU:
BT.DHP-1125236-400
Composed by Nico Dezaire.
De Haske String Technique
Series. Book with CD.
Composed 2012. 56 pages.
De Haske Publications
#DHP 1125236-400.
Published by De Haske
Publications
(BT.DHP-1125236-400).
ISBN 9789043145572.
9x12 inches.
Dutch.
Double
Stopping is a modern
method designed to teach
violinists who are fairly
confident in the 1st
position how to play
dyads on two strings as
well as double stops.
This is achieved through
38 exercises and 37
performance pieces in
various musical styles.
The various dyads and
double stops are offered
in a coherent and
structured way, and
indicated in different
colours. The performance
pieces can be played
without accompaniment,
with CD accompaniment or
as a duet, with the
second violin parts
provided as PDF files on
the CD.English edition:
DHP 1125089-400 Double
Stops for
Violin
Dubb
elgrepen voor viool -
Double Stopping is
een eigentijdse methode
om violisten met een
ruime speelervaring in de
eerste positie
samenklanken van twee
snaren en dubbelgrepen te
leren. Dit gebeurt door
middel van 38
oefeningenen 37
speelstukken in diverse
muzikale stijlen. De
verschillende
samenklanken en
dubbelgrepen worden
overzichtelijk en
gestructureerd aangeboden
en met verschillende
kleuren aangeduid. De
speelstukken kunnen zowel
onbegeleid,met
cd-begeleiding als met
een tweede vioolstem
worden uitgevoerd. De
duetten zijn geleverd als
uit te printen pdf-files
op de
cd.
Doppelgriff
e auf der Violine
richtet sich an
Geigenschüler, die
sich sicher in der ersten
Lage bewegen, und leitet
zum Spiel von
Zusammenklängen mit
zwei Saiten und
Doppelgriffen über.
Anhand von 38 Ã?bungen
und 37 Spielstücken in
verschiedenen Musikstilen
führt diese moderne
Methode übersichtlich
und strukturiert in die
diversen
Zusammenklänge und
Doppelgriffe ein.
Zusätzliche farbige
Markierungen
unterstützen dabei den
Lernprozess. Die
Spielstücke können
sowohl unbegleitet als
auch mit einer zweiten
Geigenstimme gespielt
werden. Die Duette sind
als PDF-Dateien zum
Ausdrucken auf der CD
enthalten.Deutschsprachig
e Ausgabe siehe DHP
1125237-400
Doppelgriffe aufder
Violine