'Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet isdivided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played againimmediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes thesecond 6 minutes and the third 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’shistorical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music.The material for each of the three pieces is different although the harmonic and rhythmic worlds ofeach one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August2007.'Brian Elias

Par FRANCES-HOAD CHERYL. The Sky Stretched Thin, a four-minute piece for baroque or modern violin, takes inspiration from a poem by Simon Armitage written during lockdown with the same title. The week that I read this newly published poem, I also swam in the (very cold!) saltwater of the River Crouch in Essex for the first time in the year. The view from the middle of the river of land, water and sky seemed to stretch for miles, and the waves of high tide were gentle yet powerful: in this short work I sought to convey the sense of peace and connection to nature that I experienced whilst swimming. ?Cheryl Frances-Hoad, 2021 / Date parution : 2022-09-07/ Répertoire / Violon

The Violin Lesson offers players of all standards the opportunity to immediately — and dramatically — improve their technique and understanding of violin playing. Presented in twelve comprehensive and highly accessible lessons filled with more than 500 music examples and over 350 photographs it provides fresh approaches to neglected aspects of playing whilst covering all the major areas of violin technique including:tone productionintonationavoiding aches and painschanging positionimproving bow strokesvibratoWhether outlining a basic concept or an advancedtechnique each topic is handled with the clarity and attention to detail for which Simon Fischer is so highly regarded. Fundamental exercises principles and practice methods sit alongside case studies and practical question-and-answer sections to present a truly rounded volume — essential reading for both students and teachers alike.

Finally a method that teaches violinists how to improvise! Plug in and take your violin on a journey beyond the world of classical music with Mark Wood and Electrify Your Strings. With instruction right out of Mark's famous music education program you'll learn about improvising solo and rhythm parts modern string techniques playing in a band buying electric gear and much much more! Plus there's valuable information not just for students but for string teachers and school musical directors alike so they can rock their orchestras! A CD is included with recorded examples plus jam tracks in different styles and previously unreleased material.

Twenty-four Etudes for Violoncello Solo-Technology Of Violoncello Playing Op.38 - Twenty-four Etudes for Violoncello Solo. Edited by Martin Rummel.The German cellist Friedrich Grützmacher (1832-1903) an influential teacher and composer wrote two important works containing studies: ? Tägliche Übungen ? (Daily Exercises) Op.67 and ?Twenty-four Etudes? Op.38.Grützmacher was greatly admired during the 19th century for his brilliant playing technique and this forms the central part of his studies Op.38. To this day the twenty-four studies form an integral part of cellist's study repertoire and the development of a well-grounded cello technique.As with MartinRummel's editions of Popper's studies and the Duport Etudes the new Grützmacher publication contains a booklet with valuable tips and references to other works in the Cello repertoire requiring similiar solutions to technical problems.- Fold-out pages for ease of playing.- Large format.- Additional modern fingering and bowing.- Valuable comments in English and German on the technical goals of the etudes.

3rd movement of the 'F.A.E.-Sonata' composed by R. Schumann A. Dietrich and J. Brahms-In October 1853 Robert Schumann invited Joseph Joachim to take part in a Concert at Dusseldorf. In order to celebrate the arrival of the famous young violinst his friends in Dusseldorf prepared a jocular surprise for him. They composed together a Sonata for Violin and Piano and Joachim has to guess the composer of each movement. Dietrich wrote the Allegro in A Minor Schumann the Intermezzo in F Brahms the Scherzo In C Minor (the work printed here) and Brahms completed the Sonata with the Finale in A Minor.

Two fantasies on the thematic fragments from the string quartets.-'- Two fantasies on the thematic fragments from the 9th & 3rd string quartets of Paisiello.Matthias Pintscher was born in Marl in North Rhine-Westphalia Germany in 1971 and studied composition with Giselher Klebe and Manfred Trojahn. Formative influences were his encounters with Hans Werner Henze who invited him to Montepulciano in 1991 and 1992 and with Helmut Lachenmann Pierre Boulez and Peter Eötvös. Awards include first prize in the Hitzacker Composition Competition (1992) the Rolf Liebermann Prize and the Opera Prize from the Körber Foundation Hamburg (1993 and 1996) the Prince Pierre de Monaco Prize (1999) Composition Prize from the Salzburg EasterFestival and the Hindemith Prize from the Schleswig Holstein Music Festival (2000). In 2002 he was awarded the Hans Werner Henze Prize (Westphalian Music Prize). Pintscher first came to international attention with the opera Thomas Chatterton at the Semper Opera Dresden (1998) and later with his second opera L'espace dernier at the Opéra National de Paris (2004). He was composer-in-residence with the Cleveland Orchestra in 2002 the following seasons at the Konzerthaus Dortmund Lucerne Festival with the Radio Symphony Orchestra Saarbrücken at the Philharmonie Cologne and at the RSO Stuttgart . From 2010 onwards Pintscher is ?Artist-in-Association? at the BBC Scottish Symphony Orchestra since 2014 Artist-in-residence at the Danish Radio Orchestra. As a conductor Matthias Pintscher works regularly with leading orchestras and ensembles in Europe and the USA. From 2007 to 2009 he was Professor of Composition at the University of Music and Performing Arts Munich and 2010 to 2011 at the New York University. He is Music Director of the Ensemble intercontemporain and since the 2013 14 season. As of September 2014 he is Professor for composition at the Juilliard School of Music New York.

Violin Play-Along Volume 26-The Violin Play-Along Series will help you play your favorite songs quickly and easily. Just follow the music listen to the CD to hear how the violin should sound and then play along using the separate backing tracks. With themelody and lyrics included in the book you may also choose to sing along. Chord symbols are provided should you wish to elaborate on the melody. The audio CD is playable on any CD player. For PC and Mac computer users the CD isenhanced so you can adjust the recording to any tempo without changing pitch! This volume includes 14 selections: Lied (Brahms) ? Air (Finger) ? Frölicher Tanz (Gluck) ? Bourée (Handel) ? DeutscherTanz (Haydn) ? Menuet (Lully) ? Gavotte (Martini) ? Andantino (Mozart) ? Air (Purcell) ? Ecossaise (Schubert) ? March (Schumann) ? Menuet (Telemann) ? J'ai du bon tabac (traditional) ?Waltz (von Weber).