The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Best of Violin Classics contains popular performance pieces from four centuries for violin and piano. The easy to intermediate original works are ideal repertoire for music lessons and private music-making. With works by Corelli, Vivaldi, Handel, Mozart, Beethoven, Svendsen, Fauré, Reger, and many more. / Violon Et Piano

Par ROPARTZ JOSEPH-GUY. / oeuvre solo et Orchestre / Date parution : 1905-06-24/ Répertoire / Violon et Piano

Ce livre fait partie d\'une série instrumentale arrangé pour violon, alto et violoncelle. Les arrangements sont entièrement compatibles entre eux et peuvent être jouées ensemble ou solos. Chaque livre contient une partie soigneusement édité qui est approprié pour le Niveau 2-3 joueur, ainsi que d\'un accompagnement orchestré CD entièrement. Le CD comprend une piste DEMO de chaque chanson, qui propose un concert instrumental live, suivi d\'un play-along piste. / Violon Et Piano

1st Position. Par PORTNOFF LEO. Violon Concertino dans e mineur Op.13 de Leo Portnoff est écrit pour la première position du violon. Pour violon avec accompagnement au Piano. / Niveau : Elémentaire / Rép Classique / Répertoire / Violon et Piano

1st Position. Par RIEDING OSKAR. Facile Concertos et Concertinos pour violon et Piano par Oskar Rieding. Disponible ici est le Concerto pour violon en D Op.36, comme l'écrit pour la 1re position. / Niveau : Assez Facile / Rép Classique / Répertoire / Violon et Piano

1st and 3rd Position. Par RIEDING OSKAR. Concertino de Oskar Rieding dans un mineur Op.21 est un style hongrois Concertino, pour violon et Piano. Un morceau de fabuleux qui couvre les 1er et 3e positions et fait partie de la série de Concerts facile et Concertinos. / Niveau : Elémentaire / Rép Classique / Répertoire / Violon et Piano