A violin method for children. Composed by Egon Saßmannshaus and Kurt Sassmannshaus. Stapled. With a Chinese text booklet. Performance score. Baerenreiter Verlag #BA10754. Published by Baerenreiter Verlag

(A violin method for children age four and older). By Egon Sassmannshaus; Kurt Sassmannshaus. For violin. This edition: Stapled. Barenreiter's Sassmannshaus. With a French text supplement. Instructional. Performance score, Teaching material. Text Language: English/French. 64/11 pages. Published by Baerenreiter Verlag

Fiddle - Intermediate

SKU: MB.30815M

Renaissance, Saddle-stitched. Celtic / Irish. Book and online audio. 48 pages. Mel Bay Publications, Inc #30815M. Published by Mel Bay Publications, Inc (MB.30815M).

ISBN 9781513466828. 8.75x11.75 inches.

Early Music Gems contains 49 tunes dating from 1300-1791, including Medieval, Renaissance, and ancient melodies as well as a â??best ofâ? John Playford's The Dancing Master. These delightful melodies are perfect for contradance, English country dance and concert settings. Suggested bowings, chords, tempos, and variations are included. An audio recording of each of the tunes includes the fiddle melody with guitar accompaniment. Includes access to online audio.

Jascha Heifetz Version. By Jascha Heifetz. By Niccolò Paganini. LKM Music. Softcover. 52 pages. Lauren Keiser Music Publishing #S510013. Published by Lauren Keiser Music Publishing

(Serie II - France 1800-1860). Edited by Nicolas Fromageot. For Violin. Facsimiles. Methodes and Traites. Grade 0. 1157 pages. Published by Anne Fuzeau Productions - France

Violin

SKU: FZ.5850

Serie I - France 1600-1800. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5850).

ISBN 9790230658508. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. ANCELET - Jacques-Laurent BETHISY - Sebastien de BROSSARD (1-2) - Michel CORRETTE (1) - Jean-Baptiste DOMENJOUD - Pierre DUPONT - Encyclopedie - F. A. P. de GARSAULT - Francesco GEMINIANI - Marin MERSENNE - Michel Pignolet de MONTECLAIR - Leopold MOZART. Table of contents: Mersenne Marin: Harmonie universelle - 1636. Brossard Sebastien de: Dictionnaire de musiqua - 1703. Brossard Sebastien de: [Methode de violon manuscrite] - c. 1711. Monteclair Michel Pignolet de: Methode facile pour apprendre a jouer du violon - 1711. Dupont Pierre: Principes de violon - 1718. Corrette Michel: L'ecole d'Orphee - 1738. Dupont Pierre: Principes de violon '(seconde edition) - 1740. Encyclopedie: Articles sur le violon et la lutherie - 1751/1772. Geminiani Francesco: L'art de jouer du violon - 1752. Ancelet: Observations sur la musique - 1757. Domenjoud Jean-Baptiste: De la preference des vis aux chevilles - 1757. Garsault F. A. P. de: Notionnaire, ou memorial raisonne - 1761. Bethisy Jacques Laurent: Exposition de la theorie - 1764. Mozart Leopold: Methode raisonnee pour apprendre a jouer du violon - 1770. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - Library of Congress, Washington (USA). - Bayerische Staatsbibliothek of Munich (Germany). - In Private collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin

SKU: FZ.5851

Serie I - France 1600-1800. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5851).

ISBN 9790049058513. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. Anonyme (1-2) - Michel CORRETTE (2) - LABADENS (1) - L'ABBE LE FILS - Jean-Benjamin de LABORDE - Theodore-Jean TARADE. Table of contents: Anonyme: Maniere de graduer un violon - 1771. Observation sur la maniere de graduer un violon. Labadens: Nouvelle methode pour apprendre a jouer du violon - 1772. L'Abbe Le Fils: Principes de violon pour apprendre le doigte - 1772. Tarade Theodore-Jean: Traite du violon - 1774. Laborde Jean-Benjamin de: Essai sur la musique ancienne et moderne - 1780. Corrette Michel: L'art de se perfectionner - 1782. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - In Philippe Lescat's Collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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

SKU: FZ.5852

Serie I - France 1600-1800. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5852).

ISBN 9790230658522. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. Anonyme (3-4) - Louis, L'aine BORNET - Joseph DEMAR - Louis-Antoine DURIEU - Encyclopedie methodique - LABADENS (2) - J. J. O. de MEUDE-MONPAS. Table of contents: Anonyme: La parfaite connoissance - 1782. Bornet Louis, l'aine: Nouvelle methode de violon - 1786. Meude-Monpas J. J. O. de: Dictionnaire de musique - 1787. Encyclopedie methodique: Article sur les outils de lutherie et complements a l'Encyclopedie de Diderot - 1788. Anonyme: Principes pour apprendre facilement - c. 1790. Labadens: Nouvelle methode pour apprendre a jouer du violon - 1790. Durieu Louis-Antoine: Methode de violon - 1794. Demar Joseph: Nouvelle methode abregee - c. 1797. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from:- British Library of London (England). - National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin - early intermediate

SKU: BT.DOW-04801-400

Kompendium. Educational Tool. Book with CD. Composed 2006. 56 pages. Dowani #DOW 04801-400. Published by Dowani (BT.DOW-04801-400).

ISBN 9783905477375. French.

Apprendre, c’est répéter sans jamais s’ennuyer : voil ce que propose ce Compendium pour Violon en soulignant la polysémie du verbe « jouer » : titres et illustrations humoristiques pour apprendre jouer musicalement,“mini- études” pour aiguiser la curiosité et exercer l’agilité, gammes et arpèges, autocollants pour récompenser les progrès, morceaux deux voix pour aborder le jeu en ensemble, diversité des possibilités du compact disc - l’ensemble du contenu concourt la motivation de l’élève. Chaque chapitre traite d’une seule difficulté nouvelle la fois, car il est essentiel de travailler les paramètres musicaux et/ou techniques séparément pour mieuxles intégrer dans le processus global. Fips, Faps et Fops, les trois assistants hauts en couleurs, veillent sur l’élève tout au long de la méthode.L’appre ntissage artistique combine un processus raisonné et structuré avec une liberté de création. Compendium pour Violon est un vaste espace de jeu !

(A Collection of 35 Traditional Appalachian Tunes). Composed by Ken Kolodner. For fiddle. Perfect binding. Book and Online Audio. 60 pages. Published by Mel Bay Publications, Inc

Violin

SKU: HL.49045339

Composed by Chaya Czernowin. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 1981. 12 pages. Duration 12'. Schott Music #VLB 206. Published by Schott Music (HL.49045339).

ISBN 9790001159654. UPC: 841886030633. 9.0x12.0x0.069 inches.

Chaya Czernowin wrote this composition for violin solo as early as 1981, it is thus one of her early works. The world premiere took place in Berlin in 1983, shortly after the Israeli composer had come to Germany from her home country to study on a scholarship. In this early creative period, her tonal language shows the slow introduction of the sound of new music. In 2015, Czernowin also arranged the piece for viola solo and for violoncello solo.

(Serie IV - Italie 1600-1800). Edited by Alessandro Moccia. For Violin. Facsimiles. Methodes and Traites. Grade 0. 904 pages. Published by Anne Fuzeau Productions - France

Violin - easy

SKU: HL.44005955

For Violin & Piano. Composed by Colin Cowles. Fentone Instrumental Books. Educational Tool. Book with CD. Composed 2003. 32 pages. Fentone Music #F834. Published by Fentone Music (HL.44005955).

UPC: 884088044251. 9x12 inches. International (more than one language).

The nine easy, fun-to-play fragments in this book can be played in the first position with occasional fourth finger use. These lovely pieces enable the beginner musician to perform comfortably at an early stage in their development - and performing experience is vital for any musician! Violin and Piano. Book and CD.

The nine easy, fun-to-play fragments in this book can be played in the first position with occasional fourth finger use. These lovely pieces enable the beginner musician to perform comfortably at an early stage in their development - and performing experience is vital for any musician!

Die einfachen, melodischen Stucke in Easy Melodic Fragments sind fur Violinschuler mit geringen technischen Fertigkeiten geeignet. Sie sind in der ersten Lage zu spielen mit gelegentlicher Verwendung des vierten Fingers. Mit diesen Stucken will der Komponist Colin Cowles die Spieler zum Vorspielen motivieren - ein wichtiger Aspekt des Musizierens in jedem Lernstadium! Auf der beiliegenden CD werden die Stucke abwechselnd von Violine und Viola vorgespielt, dann folgt die Begleitung zum Mitspielen. Die Klavierbegleitungen sind ebenfalls im Buch notiert.

The Easy Sound of Pop, Rock & Blues e una raccolta di pezzi divertenti pensati per tutti i musicisti che desiderano diventare delle vere star in tutti i generi musicali. L'accompagnamento sul CD e tonico e movimentato. Nei brani potrete dare spazio alla vostra creativita inventando i vostri soli.

Composed by Rodolphe Kreutzer (1766-1831). Edited by Ingolf Turban and Norbert Gertsch. Henle Music Folios. Classical. Softcover. G. Henle #HN1177. Published by G. Henle

Violin (Violin)

SKU: HL.14028564

Composed by Kaija Saariaho. Music Sales America. Post-1900. Book [Softcover]. Composed 2004. 4 pages. Chester Music #CH67023. Published by Chester Music (HL.14028564).

ISBN 9781844493203. 8.25x11.75x0.051 inches.

Nocturne was written in early 1994 and dedicated to the memory of the Polish composer, Witold Lutoslawski. The piece is an exploration of early ideas for Kaija Saariaho's violin concerto, Graal Theatre, which was premiered in London at the 1995 BBC Promenade Concerts by Gidon Kremer. The first performance of Nocturne was by John Storgards on 16 February 1994 in Helsinki. Nocturne lasts around 6 minutes.

Violin - very easy

SKU: HL.49007122

Geigenschule fur den Anfang. Composed by Renate Bruce-Weber. Arranged by Mark Bruce. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addresse. Classical. 96 pages. Schott Music #ED 7299. Published by Schott Music (HL.49007122).

ISBN 9783795722197. UPC: 196288077480. 9.0x12.0x0.282 inches. German.

The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addressed in a language that corresponds to their age. Furthermore, the method provides a stylistically varied range of classical and folkloristic instrumental pieces, and always gives a lot of interesting information on the music and its composers.Vol. 1: Detailed introduction to the bow hold - songs and instrumental pieces, using exclusively the first type of fingering while focussing on rhythmic, melodic and technical variety - playful touching and feeling of violin-playing techniques such as pizzicato, position playing, harmonics and double stops. Vol. 1 is accompanied by a CD (T 3272) containing all songs and pieces with funny dialogues spoken by children. A motivating addition to violin lessons and a great gift idea!

Violin

SKU: FZ.5813

Serie II - France 1800-1860. Edited by Nicolas Fromageot. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5813).

ISBN 9790230658133. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in six books. Jacques-Fereol MAZAS. Methode de violon suivie d'un traite des sons harmoniques en simple ou double-cordes (Paris, Aulagnier, s. d. = 1830). Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin - early intermediate

SKU: BT.DOW-04802-400

Kompendium. Educational Tool. Book with CD. Composed 2006. 60 pages. Dowani #DOW 04802-400. Published by Dowani (BT.DOW-04802-400).

ISBN 9783905477382. French.

Violin

SKU: HL.50565831

[Trois Pieces Pour Violon Seul]. Composed by Bechara El-Khoury. Editions Durand. Classical. Softcover. 13 pages. Editions Durand #DF16143. Published by Editions Durand (HL.50565831).

Perpetuel, Beyrouth-Jerusalem and Arminia are collected in the present edition for violin solo. Bechara El-Khoury, the Franco-Lebanese composer and poet was born in Beirut on March 18, 1957. His artistic gifts were revealed very early. He completed his musical training in Lebanon with Hagop Arslanian and groomed himself into becoming an accomplished composer, pianist, conductor, chorus-master and poet. He was celebrated as a child prodigy, with some hundred musical compositions written between 1969 - when he was only twelve - and 1978.

Violin - early intermediate

SKU: BT.DOW-04803-400

Kompendium. Educational Tool. Book with CD. Composed 2006. 60 pages. Dowani #DOW 04803-400. Published by Dowani (BT.DOW-04803-400).

ISBN 9783905477399. French.

Violin

SKU: FZ.5827

Serie IV - Italy 1600-1800. Edited by Alessandro Moccia. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5827).

ISBN 9790230658270. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in three books.
Anonyme - Bartolomeo CAMPAGNOLI (1) - Francesco GALEAZZI - Pietro LEONE- Antonio LOLLI - Vicenzo PANERAI- Giovanni Batista RANGONI - Pietro SIGNORETTI - Giuseppe TARTINI (2-3) - Carlo TESSARINI (2-3) - Carlo ZUCCARI. Table of contents: Tessarini Carlo: Nouvelle methode pour apprendre par theorie - c. 1760. Zuccari Carlo: The tru method of playing - 1762. Tessarini Carlo: An accurate method - 1765. Leone Pietro: Methode raisonnee - 1768. Tartini Giuseppe: Lettera del defonto signor Giuseppe Tartini - 1770. Tartini Giuseppe: Traite des agremens - 1771. Signoretti Pietro: Methode contenant les principes - 1777. Panerai Vicenzo: Principi di musica - c. 1780. Anonyme: Riflessioni d'un professore - 1780. Lolli Antonio: L'ecole du violon en quatuor - c. 1784. Rangoni Giovanni Batista: Saggio sul gusto della musica - 1790. Campagnoli Batolomeo: L'art d'inventer a l'improviste - c. 1790. Galeazzi Francesco: Elementi teorico-pratici - 1796. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - National Library of Paris (France). - British Library of London (England). - Civico Museo Bibliografico Musicale of Bologna (Italy). - Conservatory Library of Music Benedetto Marcello of Venice (Italy). - Staatlische Hochschule fur Musik und darstellende Kunst of Berlin (Germany). - Conservatory Library of Music Giuseppe Verdi of Milan (Italy). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

Violin

SKU: FZ.5816

Serie II - France 1800-1860. Edited by Nicolas Fromageot. This edition: Facsimile. Methodes & Traites. Score. Published by Anne Fuzeau Productions - France (FZ.5816).

ISBN 9790230658164. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in six books. Delphin ALARD. Ecole du Violon - Methode complete et progressive a l'usage du conservatoire (Paris, Schonenberger - Mayence B. Schott, edition datee de 1844). Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.