Per Violino E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Violon et Piano

The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons, first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs - from the Renaissance era via the Baroque, Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music, including motivating pieces from the areas of pop music, jazz, spiritual, bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already - all pieces are in the first position and can be played in the four fingering patterns. To two compositions requiring position playing, an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. / Violon Et Piano

Pop Performance Pieces includes 10 carefully selected contemporary and classic pop songs in special arrangements for Violin with a Piano accompaniment suitable for Grade 2-5 students, as well as teachers. With a Piano score, separate Violin part and performance hints and tips, these fun pieces will hone your skills and develop ensemble playing.These pieces present a fun alternative to graded exam material, and many are suitable for GCSE performance exams. The tunes will be familiar to most players, with classics like Simon and Garfunkel\'s Bridge Over Troubled Water and Elton John\'s Your Song, as well as contemporary pop songs like Adele\'s When We Were Young and Katy Perry\'s Firework. These 10 songs can be played in instrumental lessons, in the classroom and, of course, on stage. The separate booklet with the Violin part features tips by professional musicians, with some fingering guidance, while the Piano score also includes the tips, along with chord symbols and helpful fingering suggestions. / Violon Et Piano

En mai 1802, le journal musical général allemand Allgemeine musikalische Zeitung fit l'éloge des sonates pour violon op. 23 et 24 comme étant « ...parmi les meilleures que Beethoven ait écrites, c'est-à-dire qu'elles figurent parmi les meilleures du monde. L'esprit original, fougueux et audacieux du compositeur... devient de plus en plus apparent maintenant... » Le temps pendant lequel Beethoven compose sa Sonate de Printemps (Spring Sonata), qui deviendra de plus en plus populaire au cours du XIXe siècle, est marqué par une montée effrénée de la créativité compositionnelle. « Je ne vis que dans mes notes, et avec un travail à peine terminé, un autre est déjà en cours ; la façon dont j'écris maintenant m'amène souvent à travailler sur trois, quatre choses en même temps. », écrit-il dans une lettre à Wegeler le 29 juin 1801. Mais pendant ce temps, Beethoven souffre également de la détérioration rapide de son audition, un fait qu'il essayait toujours de cacher et que l'envoûtante Sonate de Printemps ne dévoile certainement pas.