Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
Chamber Music violin, piano SKU: PR.144407050 Composed by James Primosch....(+)
Chamber Music violin,
piano
SKU:
PR.144407050
Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 28+12
pages. Duration 20
minutes. Theodore Presser
Company #144-40705.
Published by Theodore
Presser Company
(PR.144407050).
UPC:
680160655519. 9 x 12
inches.
Celebrating
30 years, the
Philadelphia Chamber
Music Society
commissioned a work of
20-25 minutes for violin
and piano from James
Primosch, University of
Pennsylvania professor of
music. Primosch had
originally thought to
create a new sonata, but
what developed is more
appropriately a set of
five character pieces,
two of which were
directly inspired by
poems. Five Poems was
premiered in May, 2016,
and Primosch's thoughts
are recorded at his
website:
https://jamesprimosch.com
/2016/05/10/five-poems-pr
emiere/. Upon
receiving a commission
from the Philadelphia
Chamber MusicSociety for
a violin and piano piece
in honor of its 30th
anniversary, myplan was
to write a sonata, a term
suggesting a relatively
abstractdiscourse. But as
the piece developed, the
movements struck me
ascharacter pieces rather
than music employing a
more
“symphonicâ€ap
proach. When specific
poems started to attach
themselves in my mindwith
two of the movements, the
overall title Five Poems
became clear.The title of
the second movement is a
line from Susan
Stewart’s“De
scentâ€, which deals
with Aeneas’s
visit to the underworld.
The musicis alternately
fiercely driving and
quite still, though
tense.
RobertFrost’s
Nothing Gold Can Stay
summons fleet scale
passages framinglyrical
counterpoint. The
remaining movements do
not refer to
specificpoems, but have
titles reflecting their
expressive tone.
Dreamscape ismusing with
an improvisatory violin
line over shifting pairs
of pianochords. Nightsong
is a bluesy lullaby that
turns highly
dramatic.Vision begins
with a closely argued
struggle but breaks
through tosomething
spacious and clear.
Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114422690
Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42269.
Published by Theodore
Presser Company
(PR.114422690).
UPC:
680160684809. 9 x 12
inches.
In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends.
Violin, piano SKU: BR.EB-8647 14 Duos. Composed by Antoinette van ...(+)
Violin, piano
SKU:
BR.EB-8647
14
Duos. Composed by
Antoinette van Zabner and
Elisabeth Aigner-Monarth.
Edited by Aigner-Monarth
/ Van Zabner. Solo
instruments; Softbound.
Edition Breitkopf. Music
pedagogy. Score. 90
pages. Breitkopf and
Haertel #EB 8647.
Published by Breitkopf
and Haertel (BR.EB-8647).
ISBN 9790004183403. 9
x 12 inches.
Gone
are the days when chamber
music was relegated to
the sidelines of piano
instruction. TWOgether
contains two pieces each,
mostly original, for
piano and the most
popular classical melody
instruments. It is clear
that the pieces make
equal musical demands on
both the piano and the
melody instrument. Thanks
to this stylistically
varied book, young
pianists or their
teachers can go out
recruiting all kinds of
different musical
partners. Facilitating
their access to the
pieces are the
informative comments of
the editors, which
include thoughts on
chamber music, and the
intonations provided by
Oskar Aichinger.
Loves Sorrow - W/ CD. By Fritz Kreisler. For Violin Solo, Piano. Carl Fischer CD...(+)
Loves Sorrow - W/ CD. By
Fritz Kreisler. For
Violin Solo, Piano. Carl
Fischer CD Solo Series.
Classical. Set of parts.
8 pages. Published by
Carl Fischer. Level:
Intermediate Level.
Horn in F, violin and piano - difficult SKU: HL.49019164 Composed by Huw ...(+)
Horn in F, violin and
piano - difficult
SKU:
HL.49019164
Composed
by Huw Watkins. This
edition: Saddle
stitching. Sheet music.
Special Import.
Softcover. Composed 2008.
62 pages. Duration 13'.
Schott Music #ED13251.
Published by Schott Music
(HL.49019164).
ISBN
9790220133312.
9.0x12.0x0.184
inches.
The idea to
write a horn trio came to
the composer (also an
acclaimed pianist) after
giving a concert with a
horn player from the Nash
Ensemble, which included
the Ligeti and the Brahms
horn trios. When the Nash
commissioned Watkins to
write a new piece, he
knew he would write
something for horn. The
result is an inventive
12-minute work for horn,
violin, and piano that
alternates driving
rhythmic passages with
slower, contemplative
music. The trio is both
lyrical and impelling,
typifying Watkins' clear
sound. Cast in a single
movement, the music
maintains a subtle
tension throughout,
finally building to a
climactic finish. A
fantastic piece for
ambitious players.
Arranged by Denise Gendron. Performance part for piano accompaniment. With chord...(+)
Arranged by Denise
Gendron. Performance part
for piano accompaniment.
With chord names.
Accompaniment for
[SP.TS358]. 47 pages.
Published by Santorella
Publications.
For violin. Format: instrumental solo/piano accompianment set. With solo part an...(+)
For violin. Format:
instrumental solo/piano
accompianment set. With
solo part and piano
accompaniment. Christmas
and holiday. 16 pages.
9x12 inches. Published by
Rubank.
Violin, piano SKU: BR.EB-9413 Composed by Nicola Campogrande. Solo instru...(+)
Violin, piano
SKU:
BR.EB-9413
Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf. New music
(post-2000). Score.
Composed 2020. 28 pages.
Duration 9'. Breitkopf
and Haertel #EB 9413.
Published by Breitkopf
and Haertel (BR.EB-9413).
ISBN 9790004188873. 9
x 12 inches.
For a
long time after
Romanticism had come to
the fore, it was
generally agreed that
Brahms somehow did not
get it: History and
Progress - it was thought
- were proceeding along
one clear path and Brahms
- who was composing
sonatas and symphonies
instead of nocturnes and
symphonic poems - had
taken the wrong way.
Almost one century later,
Schonberg wrote an essay,
Brahms, der
Fortschrittliche (Brahms,
the progressive), in
which he explained that
it wasn't like that at
all.Fully assuming the
risk to appear somehow
irreverent, I have to
confess: Over the years,
I came to the conclusion
that the present - and
the future - can be
created only by loving
the past. As Brahms had
shown us, it is only by
accepting the challenge
of taking our heritage
into our own hands, that
we can create something
new. We cannot avoid
engaging with the past.
Therefore, starting with
my Sinfonia n. 1, I began
to flirt with such a
strong and effective
musical structure like
the sonata form. I
re-read and freely
transformed it, because
it is a sturdy and
resilient structure, but
also a theatrical and
colorful one. For me, it
is a happy structure. And
I think that today more
than ever we need
something like this: We
need to find places -
even imaginary ones -
where we can give
happiness a form of its
own.Nicola Campogrande,
December
2020
World
premiere: Bologna/Italy,
Streaming, April 11,
2021Commissioned by the
Fondazione Musica
Insieme.
Violin SKU: HL.48180833 For Violin and Piano. Composed by Johann S...(+)
Violin
SKU:
HL.48180833
For
Violin and Piano.
Composed by Johann
Sebastian Bach. Leduc.
Baroque. Softcover. 4
pages. Alphonse Leduc
#AL19371. Published by
Alphonse Leduc
(HL.48180833).
UPC:
888680857158.
9.0x12.0x0.02
inches.
Parisian
violinist Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. J. S. Bach's
Menuet and Gigue is
clearly printed with all
edited and necessary
performance directions.
J.S. Bach (1685-1750) is
one of the greatest
composers of all time.
His compositions for the
violin were significant,
most of which remain
popular today in the
advanced violinist's
repertoire. The violin
solo line of Menuet and
Gigue makes use of
harmonics, bow
techniques,
aritculations, fast
semiquavers, and
ornamentation.
Catherine's series,
Violin Classics provides
essential access to
significant repertoire of
the violin, preparing
advanced violinists for
the major works of the
repertoire.
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48025445 For Violin...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48025445
For Violin and
Piano. Composed by
Hans Winterberg. Boosey
and Hawkes Chamber Music.
Classical. Softcover.
Duration 420 seconds.
Boosey and Hawkes
#M202538852. Published by
Boosey and Hawkes
(HL.48025445).
ISBN
9783793145820. UPC:
196288216438.
Hans
Winterberg's
extraordinary life was
written in two chapters,
one Czech and one German,
split right down the
middle by the experience
of the Shoah, which
Winterberg, unlike his
colleagues Ullmann,
Krása, Haas and Klein,
miraculously survived. In
1947, the Prague-born
composer moved to Munich,
where he worked for the
Bavarian Broadcasting
Corporation. As a student
of Alexander Zemlinsky
and Alois Hába, he
belongs both to the Czech
tradition following
Janácek and to the
circle of the Second
Viennese School. He saw
himself as a bridge
builder between Western
and Eastern culture. The
circumstances under which
Winterberg was able to
compose during the war
years are still unclear.
Although his “mixed
marriage” initially
saved him from
deportation, he had to
perform forced labour and
was eventually sent to
the Terezin ghetto in
January 1945. The Suite
for Violin and Piano was
composed in 1942, the
year in which both
Winterberg's mother and
his piano professor
Thérèse Wallerstein
were murdered by the
Nazis. Compared to the
violin sonata from 1936,
the Suite is much more
condensed, lasting less
than seven minutes. A
melody dominated by
chromatic turns and
expressionist harmony
lend the work its
melancholy character,
which gives way, however,
to an almost
irrepressible defiance in
the rhythmically
percussive last
movement.
Composed by Leos Janacek (1854-1928). Edited by Jan Krejci; Alena Nemkova. For v...(+)
Composed by Leos Janacek
(1854-1928). Edited by
Jan Krejci; Alena
Nemkova. For violin and
piano. This edition:
Urtext edition. Stapled.
Level 4. Score with part.
Published by Baerenreiter
Verlag
In Sunlight Violon et Piano Oxford University Press
Violin & piano (Solo) - Difficult SKU: OU.9780193583245 Composed by Antho...(+)
Violin & piano (Solo) -
Difficult
SKU:
OU.9780193583245
Composed by Anthony
Powers. Violin & Piano.
24 pages. Duration 7'.
Oxford University Press
#9780193583245. Published
by Oxford University
Press (OU.9780193583245).
ISBN 9780193583245. 12
x 8 inches.
For
violin and piano The
composer writes: The
structure is a short set
of double variations, the
two themes following a
short introduction. One
is flamboyant and
rhetorical, the other
gentle and lyrical. The
first develops
rhythmically, through a
toccata to a vigorous
dance, the second becomes
increasingly decorated so
that the line is almost
dissolved, but finally
emerges in its clearest,
simplest form. In a coda
each musical character
disappears into
silence.
Violin and Piano SKU: AP.36-60710009 From Preludes, Book 2. Arrang...(+)
Violin and Piano
SKU:
AP.36-60710009
From Preludes, Book
2. Arranged by Claude
Debussy and ed./arr.
Lucien Garban. Violin.
Master String Series.
Book. LudwigMasters
Publications
#36-60710009. Published
by LudwigMasters
Publications
(AP.36-60710009).
ISBN
9798888521786. UPC:
676737764432.
English.
Unlike
Bach and Chopin, Claude
Debussy (1862-1918) wrote
his twenty-four Préludes
for solo piano without a
clearly organized pattern
of key relationships.
They were written from
December 1909 to April
1913, in two sets, with
twelve preludes to each
volume. Jane Mortier
delivered the premiere of
the first volume on May
3, 1911, at the Salle
Pleyel in Paris. Walter
Morse Rummel gave the
first complete
performance of the second
volume on June 12, 1913,
at the Aeolian Hall in
London. Prelude No. 5
from Book 2, subtitled
Bruyéres, bears
similarity to another of
his works for piano, La
Fille aux cheveux de lin
(The Girl with the Flaxen
Hair). The pianist
Marguerite Long, a friend
of the composer,
suggested that it sounded
reminiscent of the
mingling scent of sea
mist and pines. French
composer and arranger
Lucien Garban completed
this transcription of No.
5 from Book 2 (Bruyères)
for violin and piano in
1926. Reprint
edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Piano; Violin (violin/piano) SKU: HL.48180635 For Violin and Piano...(+)
Piano; Violin
(violin/piano)
SKU:
HL.48180635
For
Violin and Piano.
Composed by Georges
Catherine. Leduc.
Classical. CD. Alphonse
Leduc #AL18321. Published
by Alphonse Leduc
(HL.48180635).
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Viotti's
Concerto No. 23 is
clearly printed with a
helpful key of unusual
techniques. Viotti
(1755-1824) was an
Italian violin virtuoso.
He composed a significant
29 concertos for the
violin which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 23 makes use
of extended techniques
including harmonics, bow
techniques, aritculations
and hand positions.
Catherine's series, First
Solos Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.
Piano; Violin (violin/piano) SKU: HL.48180634 For Violin and Piano...(+)
Piano; Violin
(violin/piano)
SKU:
HL.48180634
For
Violin and Piano.
Composed by Georges
Catherine. Leduc.
Classical. CD only. 4
pages. Alphonse Leduc
#AL18320. Published by
Alphonse Leduc
(HL.48180634).
UPC:
888680829070. 0.031
inches.
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Viotti's
Concerto No. 22 is
clearly printed with a
helpful key of unusual
techniques. Viotti
(1755-1824) was an
Italian violin virtuoso.
He composed a significant
29 concertos for the
violin which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 22 makes use
of extended techniques,
including harmonics, bow
techniques,
articulations, fast
semiquavers, and double
stops. Catherine's
series, First Solos
Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.
Piano, Violin (violin/piano) SKU: HL.48180636 For Violin and Piano...(+)
Piano, Violin
(violin/piano)
SKU:
HL.48180636
For
Violin and Piano.
Composed by Giovanni
Viotti. Leduc. Classical.
CD only. 4 pages.
Alphonse Leduc #AL18322.
Published by Alphonse
Leduc (HL.48180636).
UPC: 888680829056.
9x12
inches.
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the Violin
repertoire. The first
solo from Viotti's
Concerto No. 24 is
clearly printed with a
helpful key of unusual
techniques. Viotti
(1755-1824) was an
Italian violin virtuoso.
He composed a significant
29 concertos for the
violin which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 24 makes use
of extended techniques,
including harmonics, bow
techniques, articulations
and hand positions.
Catherine's series,
First Solos Extracted
from the Classic
Concertos provides
essential access to
significant repertoire of
the violin, preparing
advanced violinists for
the major concertos.
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Versi...(+)
Violin-solo, piano
(Violin solo, Piano)
SKU: BA.BA09099-92
First Version
1844. Composed by
Felix Bartholdy
Mendelssohn. Edited by R.
Larry Todd. This edition:
urtext edition. Stapled.
Barenreiter Urtext. Early
version 1844. Piano
reduction, Part. Opus 64.
Duration 12 hours.
Baerenreiter Verlag
#BA09099_92. Published by
Baerenreiter Verlag
(BA.BA09099-92).
ISBN
9790006565733. 31 x 24.3
cm inches. Key: E minor.
Preface: Larry R.
Todd.
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
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, 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
Leonard.
The
letter informs us that
the composer invited
Leonard 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
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard 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 Leonard'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).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
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B�¤renreiter Urtext
Orchestral
Parts
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editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
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enough that reverse pages
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Piano, Violin (Violin) SKU: HL.48180637 For Violin and Piano. Comp...(+)
Piano, Violin (Violin)
SKU: HL.48180637
For Violin and
Piano. Composed by
Giovanni Battista Viotti.
Leduc. Classical.
Softcover. 4 pages.
Alphonse Leduc #AL18324.
Published by Alphonse
Leduc (HL.48180637).
UPC: 888680829049.
9x12
inches.
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Viotti's
Concerto No. 29 is
clearly printed with a
helpful key of unusual
techniques. Viotti
(1755-1824) was an
Italian violin virtuoso.
He composed a significant
29 concertos for the
violin which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 29 makes use
of extended techniques,
including harmonics, bow
techniques,
aritculations, fast
semiquavers, and double
stops. Catherine's
series, First Solos
Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.
Violin and Piano. Composed by Pablo de Sarasate (1844- 1908). Edited by Peter J...(+)
Violin and Piano.
Composed by
Pablo de Sarasate (1844-
1908). Edited by Peter
Jost.
Sheet music. Henle Music
Folios. Classical.
Softcover.
56 pages. G. Henle
#HN1244.
Published by G. Henle
Violin (violin/piano) SKU: HL.48180707 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180707
For Violin and
Piano. Composed by
Charles Auguste de
Beriot. Leduc. Classical.
CD. 4 pages. Alphonse
Leduc #AL18900. Published
by Alphonse Leduc
(HL.48180707).
Violin (violin/piano) SKU: HL.48180708 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180708
For Violin and
Piano. Composed by
Pierre Rode. Leduc.
Classical. CD. Alphonse
Leduc #AL18901. Published
by Alphonse Leduc
(HL.48180708).
Parisian
violinist Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Beriot's
Concerto No. 9 is clearly
printed with a helpful
key of unusual
techniques. Charles
Auguste de Beriot
(1802-1870) was a Belgian
violinist and composer.
He composed a significant
10 concertos for the
violin which remain
popular in the advanced
violinist's repertoire,
as well as many study
books for the instrument.
The violin solo line of
Concerto No. 9 makes use
of extended techniques,
including harmonics, bow
techniques, articulations
and hand positions.
Catherine's series, First
Solos Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.
Violin (violin/piano) SKU: HL.48180989 For Violin and Piano. Compo...(+)
Violin (violin/piano)
SKU: HL.48180989
For Violin and
Piano. Composed by
Henri Vieuxtemps. Leduc.
Classical. CD. Alphonse
Leduc #AL19945. Published
by Alphonse Leduc
(HL.48180989).
Parisian
violinist, Georges
Catherine (1872-1958)
compiles an exciting
collection for the violin
repertoire. The first
solo from Vieuxtemp's
Concerto No. 5 is clearly
printed with a helpful
key of unusual
techniques. Vieuxtemp
(1820-1881) was an
Belgian composer and
violinist. He composed a
significant amount of
string music,
particularly for the
violin, which remain
popular in the advanced
violinist's repertoire.
The violin solo line of
Concerto No. 5 makes use
of extended techniques,
including harmonics, bow
techniques, aritculations
and hand positions.
Catherine's series, First
Solos Extracted from the
Classic Concertos
provides essential access
to significant repertoire
of the violin, preparing
advanced violinists for
the major concertos.