Violin and Piano - Grade 1.5 SKU: AP.36-52710595 Composed by Lynne Latham...(+)
Violin and Piano - Grade
1.5
SKU:
AP.36-52710595
Composed by Lynne Latham.
Arranged by Thom Sharp.
This edition: Latham
Music. String - Violin
and Piano. LudwigMasters
- Latham Music. Book.
Latham Music Enterprises
#36-52710595. Published
by Latham Music
Enterprises
(AP.36-52710595).
ISBN
9781633610002. UPC:
679360611197.
English.
Volume 1
begins with open strings
and basic notation,
rhythms, and bowing
skills. New notes,
notation, and bowing
skills are added in
logical progression,
reinforcing both right-
and left-hand technique
and developing the
cognition for string
performance. This book
introduces students to:
the basic major and minor
tetrachords on all four
strings; essential
rhythmic notation from
whole notes through
eighth-note patterns;
left-hand techniques such
as easily played double
stops, left-hand
pizzicato,
differentiating whole and
half steps; and a variety
of bow techniques. Audio
available online.
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.
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
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
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
lights and is thick
enough that reverse pages
do not shine
through
(Fantastical Pieces for Absolute Beginners). By Pam Wedgwood. For Violin and Pia...(+)
(Fantastical Pieces for
Absolute Beginners). By
Pam Wedgwood. For Violin
and Piano. Book; String -
Violin Studies or
Collection. Faber
Edition. 16 pages.
Published by Faber Music
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. M...(+)
Violin and Piano (Violin)
SKU: HL.14004213
Composed by Lennox
Berkeley. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 56 pages. Chester
Music #CH55778. Published
by Chester Music
(HL.14004213).
9.0x12.0x0.175
inches.
Five Pieces
for Violin and Orchestra
was commissioned by
Frederick Grinke and
completed on 20 December
1961. The BBC Symphony
Orchestra with Frederick
Grinke (violin) and
conducted by the
composer, gave the first
performance on 31 July
1962 at the Royal Albert
Hall, London during the
BBC Proms season. This
work is so constructed
that each piece is
complete in itself and
can be played separately,
while at the same time
the whole set of five
constitutes a structural
unit. A basic motif
consisting of a rising
semitone followed by a
falling tone, and its
inversion plays an
important part in every
piece. Thus the first
piece, which is of a slow
and meditative character,
begins with this theme in
the bass. It is also
heard in the first entry
of the solo part, and
thereafter every episode
is in some way derived
from it. The next piece,
a vigorous and strongly
marked 'allegro', uses
the semitone of the
original figure as its
starting point. A second
theme appears, first on
the horns and is later
taken up by the solo
violin, while a third
section has the initial
idea as its
accompaniment. Next comes
an extended scherzo in
free form very closely
based on initial motif.
The fourth is a purely
melodic piece containing
allusions in its middle
section to the basic
figure. Here the strings
only are used for
accompaniment. In the
first section, violas and
cellos are divided in the
middle section, and all
the strings are used in
the last, which is
otherwise an almost exact
repetition of the
opening. The Finale is a
lighter movement than the
others, concerned mainly
with giving the soloist
material for display, but
not unconnected with what
has gone before.
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra
Reduction
(Piano). Composed by
Claude
Debussy (1862-1918) and
Robert Orledge. Arranged
by
Robert Orledge. String.
Softcover. 34 pages.
Schott
Music #VLB214. Published
by
Schott Music
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.414411630
Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation.
28+28+20+24+20+24 pages.
Duration 20 minutes.
Theodore Presser Company
#414-41163. Published by
Theodore Presser Company
(PR.414411630).
ISBN
9781491114551. UPC:
680160089956. 9.5 x 13
inches.
EXCURSIONS
is a one-movement work
exploring two
“characters.â€
A rhapsodic, descending
passage is introduced by
the cello, followed by
a static,
chorale-like phrase for
the violin and cello.
Their individual
developments are
separated by a slow,
contrasting middle
section. The composer has
written: “This is
analogous to situations
in life: we stand by a
crossroad, choosing one
option and forfeiting the
other. But in art, the
realm of the imagination,
we can perhaps afford to
pursue more than one
route to its ultimate
destination… or can
we? It is symbolic that
in this work both roads
eventually lead to the
same
place.â€. Excursi
ons for violin, cello and
piano, is a one-movement
work of tripartite
structure in which
materials explored in the
first of three large
sections are brought back
in the last section.Â
The traditional
statement-contrast-restat
ement form, which is
readily suggested by such
a description, is,
however, not at all in
the mold in which the
work is cast. Rather,
my aim was to subject the
essential materials of
the piece (two
“charactersâ€
–the rhapsodic,
descending passage played
by the cello in the very
opening and, later, a
static, slow moving,
chorale-like phrase for
the violin and cello) to
two entirely different
developments separated by
a slow, contrasting
middle section. This
is analogous to an
exploration of the
ramifications that two
divergent choices made by
the same person might
lead to. In life, as
we stand by a crossroad,
choosing one option
usually means having to
forfeit the other.Â
But in art, the realm of
the imagination, we can
perhaps afford to pursue
more than one route to
its ultimate
destination…or can
we? It is, I believe,
symbolic that in this
work both roads
eventually lead to the
same place: in composing
Excursions, it seemed
absolutely inescapable
that at the end the slow,
contrasting middle
sections – both
more resigned and
peaceful than the
battling spirits of the
outer parts –
should return briefly to
end the work. The
piano trio combination
(once highly favored, but
to this composer still as
challenging today) is
approached here as a
collaborative effort of
three equal soloists
– partners. Of
the available pairings,
the two strings find
themselves occasionally
approached as a team
pitted against the
piano. The
cello-piano combination
is also not uncommon
here, and there is an
extended violin cadenza
toward the end of the
piece. The writing
for the three instruments
is closely and at times
interlinked, but the
players are all
instructed to play from
scores. Excursions was
first performed at
Brandeis University in
1982.
Violin and piano (V/KL) - difficult SKU: HL.49030434 For violin and pi...(+)
Violin and piano (V/KL) -
difficult
SKU:
HL.49030434
For
violin and piano.
Composed by John Casken.
This edition: Saddle
stitching. Sheet music.
Edition Schott. Composed
1998. 45 pages. Duration
18'. Schott Music #ED
12650. Published by
Schott Music
(HL.49030434).
ISBN
9790220119873.
Apre
s un silence was
originally written as a
work for violin and
piano. The piano part was
subsequently orchestrated
in such a way that the
work may be performed
with a chamber orchestra
or with an ensemble of
the same forces using
strings. 'The violin's
opening interval of a
rising sixth is the gem
from which everything is
developed into one
extended movement.' This
will become a regular
presence in the violin
and piano repertoire.