with marked and unmarked string part. Par TCHAIKOVSKI PIOTR ILITCH. Le lieu cher auquel se réfère le titre de ce recueil de trois charmants morceaux pour violon et piano est Braïlov, propriété de la mécène et amie de Tchaïkovski Nadejda von Meck. C’est là que le compositeur passe le mois de mai 1878 et termine sa partition dans un isolement idyllique. Composé quasiment en même temps que son concerto pour violon, Souvenir d’un lieu cher témoigne aussi de son incomparable talent pour la mélodie romantique. Le spécialiste russe de Tchaïkovski Alexander Komarov, qui s’est chargé de préparer cette édition de la plus grande qualité, a consulté toutes les sources de l’oeuvre dans les archives russes et étrangères. Il a pu à cette occasion égalementréfuter clairement la thèse en cours selon laquelle le titre Souvenir d’un lieu cher n’aurait été ajouté qu’après la mort du compositeur. / Komarov, Alexander / Répertoire / Violon et Piano

Par GRIEG EDVARD. with marked and unmarked string part/ Répertoire / Violon et Piano

Par YSAYE EUGENE. with marked and unmarked string part/ Répertoire / Violon et Piano

Par DAVIS OLIVER. 'For many years the violinist Kerenza Peacock and I have been discussing the concept of a piece about trees. One day I received in the post from her a book by Annie Davidson entitled, ‘How to be More Tree’. This brilliant book became the inspiration for the Arboretum Suite. The first tree I decided to write about was Aspen. I read that Aspen trees work together sharing water and nutrients through their root system, so only as a community can they grow in strength. Aspen is followed by Açai Palm, a tree which is native to Brazil and Argentina, hence the Latin American feel of this movement. The score is marked pizzicato, the plucked sound further accentuating the South American rhythms. The Vanishing Mahogany of the Amazon naturally has a very sombre feel, although the major key ending of this movement reflects the hope that we may still manage to save the rain forests. The last movement describes my response to the description of the Mountain Hemlock. I wanted to create rhythms that depicted this beautiful tree swaying in the mountain winds.' - Oliver Davis / Date parution : 2022-06-08/ Répertoire / Violon et Piano

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano

Reduction for Violin and Piano. Par BOSSO EZIO. Ezio Bosso's Violin Concerto No. 1 'EsoConcerto', published here in a violin and piano reduction, is considered one of the seminal compositions of his artistic career as well as being the first concerto he ever wrote for violin and orchestra. The work also marked another key stage in Ezio's professional career, when he conducted the Orchestra Filarmonica della Fenice himself at the occasion of his return to the podium after 'the darkness' of 2011. / Date parution : 2022-11-29/ Répertoire / Violon et Piano