Sonata in a minor for Violin and Basso continuo. Par NERUDA JOHANNES. Le compositeur tchèque Johann Baptist Georg Neruda (env. 1711-1776) a augmenté au cours des dernières années, principalement en raison de sa grande concerto pour trompette joué encore plus d'intérêt public. Un violoniste respecté et membre de longue date de la cour orchestre de Dresde, l'accent de son travail de composition, cependant, était dans la gamme de musique de violon. Les riches et techniquement très difficile Sonate pour violon en la mineur a été publié en 1982 dans le cadre de notre édition 'Bohemian Violin Sonatas' (HN 334) pour la première fois en version imprimée et est maintenant présenté dans une édition unique pratique avec une nouvelle préface et une voix anonyme supplémentaire./ Répertoire / Violon

Par CORELLI ARCANGELO. While the value of authenticity in the performance of Baroque music is now widely appreciated, many players still feel daunted by the task of realising the unadorned melodies and basses of Corelli’s Op. 5 Violin Sonatas in their original form. Fortunately, Gustav Jensen’s edition of these works provides an ideal solution to the problem. Carefully fingered and bowed, with the continuo sensitively arranged for harpsichord or modern piano, it presents the notated elements of a spirited and musically satisfying reading, while still leaving room for performers to shape their own interpretation. This volume includes sonatas No. 7 and No. 10 – both composed on the sonata dacamera pattern – and the celebrated La folia variations with which Corelli concluded his collection. Fiery and virtuosic, they have remained a favourite item in the violinist’s repertoire since their publication in Rome in 1700. The solo violin part is also included on a separate insert./ Répertoire / Violon et Clavier

Contains the Complete Sonatas and Partitas (BWV 1001-1006) - Concerto in A minor, BWV 1041 - Concerto in E Major, BWV 1042 - Concerto for Two Violins in D minor, BWV 1043 - Concerto in G minor, BWV 1056R - Arioso from Ich steh mit einem Fuss im Grabe, BWV 156 / Violon Et Piano

Allerheiligentag V. Par LINJAMA JYRKI. The material for Jyrki Linjama's Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba (2018) and Sonata for violin solo (2019). The composer tells: 'The choice of topic and material was originally influenced by the place where the string trio would be premiered ? the old church on the island of Seili (Själö) in the Turku archipelago. The bleak history of the mental hospital on the island invited images of suffering and death. I got so attached to the fine, bleak melody that this series of works began to emerge.' Lasting 17 minutes, the sonata for solo violin has three movements, all of them embracing the folk choral material and Béla Bartók?s influence in different ways. It was premiered by Kaija Saarikettu at the Kaustinen Chamber Music Festival in 2020. / Date parution : 2022-05-31/ Répertoire / Violon

Par DAVIES PETER MAXWELL. Composed in London and Italy but inspired by Scottish fiddle writing, Max’s sonata for solo violin is a reflective work that is both exuberant and nostalgic - a fantastic show piece from one of the UK’s most important living composers./ Répertoire / Violon

This huge collection offers instrumentalists the chance to play 101 classical themes, including: Ave Maria (Bach/Gounod and Schubert) - Bist du bei mir (You Are with Me) (Stözel) - Canon in D (Pachelbel) - Clair de Lune (Debussy) - Dance of the Sugar Plum Fairy (Txhaikovsky) - 1812 Overture (Tchaikovsky) - Eine Kleine Nachtmusik (' Serenade”), First Movement Excerpt (Mozart) - The Flight of the Bumble Bee (Rimsky-Korsakov) - Funeral March of a Marionette (Gounod) - Für Elise (Beethoven) - Gymnopedie No. 1 (Satie) - Jesu, Joy of Mans Desiring (Bach) - Lullaby (Brahms) - Minuet in G (Bach) - Ode to Joy (Beethoven) - Piano Sonata in C (Mozart) - Pie Jesu (Fauré) - Rondeau (Mouret) - Swan Lake (Tchaikovsky) - Wedding March (Mendelssohn) - William Tell Overture (Rossini) - and many more./ Recueil / Violon

Par BACH JOHANN SEBASTIAN. Without any doubt J.S. Bach’s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was „nothing more accomplished in order to become a good violinist“ than his father’s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach’s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument – the violin. The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition – Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach’s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries. The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources./ Répertoire / Violon

Edizione critica a cura di Fulvio Luciani. Par BACH JOHANN SEBASTIAN. A new critical edition of Bach?s Sonatas and Partitas for solo violin ? possibly the very pinnacle of the whole repertoire for violin ?, by violinist Fulvio Luciani. The edition is based on the autograph and is equipped with an apparatus of critical notes: they indicate problems with the reading of the original source, suggest possible new solutions, alternative to the widely accepted ones, and retrace the history of harmonic perception, as evidenced by the changes the composition went through across all its historical editions. The curator provides indications (clearly distinguishable from the original source) for the performance, the bowings specifically. They are suggestions founded in the observation of the technical apparatus pictured by Bach in his genius: a hand technique closer to a pianist?s than a traditional violinist?s; a mechanism we could call pioneering to this day. / Date parution : 2022-10-12/ Recueil / Violon

Vivaldi, Sonata da camera e-Moll. No. 1 : Vivaldi, Sonata Da Camera E Minor/ Répertoire / Violon 2 (Partie Séparée)

Pez, Sonata B-Dur. No. 17 : Pez, Sonata B Flat Major/ Répertoire / Violon 1 (Partie Séparée)

The revised edition for Suzuki Violin School, Volume 8 is now available. Like the other revised violin books, the music has been edited by the International Violin Committee. Other features include: New engravings in a more easily readable 9 x 12 format * New editing of pieces, including bowings and fingerings * Newly edited piano accompaniment * CD recorded by William Preucil, Concertmaster of the Cleveland Orchestra * Piano accompaniments recorded by Linda Perry. Titles: Sonata No. 11 in G Minor (Eccles) * Tambourin (Grétry) * Largo from Sonata No. 3 in C Major, BWV 1005 (Bach) * Preludio from Sonata in E Minor, BWV 1023 (Bach) * Allegro from Sonata in E Minor, BWV 1023 (Bach) * Largo Espressivo (Pugnani) * Sonata in E Minor (Veracini).

Giuseppe Tartini (1692 - 1770) Quattro Sonate per Violino - Sonata Il Trillo del Diavolo (Bg5) per VL/BC - Sonata Didone Abbandonata (Bg10) per VL/BC - Sonata Senti lo Mare per (Be1) per VL/VC - Sonata La mia Filli (Ba3) per VL solo A cura di / Edited by Federico e Giovanni Guglielmo La pubblicazione è composta da: - Partitura - Parte di violino secondo le fonti originale - Parte di Violino con revisione violinistica - Parte del Basso La straordinaria riscoperta in tempi moderni della musica di Antonio Vivaldi è stata strettamente connessa sin dagli anni cinquanta dello scorso secolo alla meritoria prima edizione (più o meno completa) da parte dell'Istituto Italiano Antonio Vivaldi fondato da Antonio Fanna. In seguito, oltre ad avere pubblicato quasi la totalità delle composizioni del Prete Rosso l'Istituto veneziano ha corretto e attualizzato le sue più antiche edizioni alla luce delle nuove conquiste musicologiche e con una precisa attenzione a quelle che erano le istanze che provenivano dagli esecutori 'storicamente informati'. Giuseppe Tartini non ha goduto di altrettanta fortuna. Dopo alcune edizioni assai poco accurate (si potrebbe parlare piuttosto di reinterpretazioni, quali furono tra le altre quelle del leggendario violinista Fritz Kreisler e di Riccardo Zandonai), legate prevalentemente alla sopravvivenza ottocentesca di alcuni brani (in particolare il Trillo del Diavolo, la Didone Abbandonata e le variazioni L'Arte dell'Arco) nel corso del XX secolo poche edizioni davvero attendibili sono state date alle stampe, in primis quelle della collana a cura di Edoardo Farina e Claudio Scimone (Le opere di Giuseppe Tartini, Carisch) ma anche grazie all'azione isolata di violinisti (Giovanni Guglielmo) e musicologi (Enrica Bojan e Agnese Pavanello). Ancora oggi siamo ben lontani dalla possibilità di avere una moderna e completa edizione dell'opere del Maestro delle Nazioni anche se grazie all'instancabile lavoro di Sergio Durante e con l'istituzione del 'Comitato Tartini 2020' si intravedono nuovi slanci e grandi opportunità. La mancanza di edizioni attendibili per gli interpreti si è sovente riverberata sulle esecuzioni - fossero queste inserite in saggi scolastici, concorsi internazionali o recital dei più noti virtuosi - al punto che è stato quasi impossibile liberare le opere tartiniane da tutta una serie di istrionismi e di stilemi ottocenteschi che ormai si erano profondamente radicati alla percezione di queste opere. La presente edizione mira quindi non tanto a fornire una nuova edizione critica (talune, ottime, già esistono) di queste quattro Sonate che sono state scelte per la loro notorietà, rappresentatività e bellezza quanto piuttosto a garantire agli interpreti, siano essi giovani studenti o affermati professionisti, un testo coerente e corretto. Per questo motivo in aggiunta ad una parte di violino priva di segni interpretativi abbiamo ritenuto utile introdurre una seconda parte di violino con diteggiature ed indicazioni dinamiche che potranno essere di giovamento sia per gli interpreti 'tradizionali' che per quelli interessati alle prassi esecutive storiche. Federico Guglielmo