Edited by Gail Acosta. Arranged by Daniel Kelley. For Violin and Piano. Solos. Recital. Level: Intermediate. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Edited by Florence Titmus. Arranged by Daniel Kelley. For Violin and Piano. Solos. Recital. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Composed by Peter Ilyich Tchaikovsky (1840-1893). Edited by Endre Granat. LKM Music. Ballet, Classical. Softcover. 24 pages. Lauren Keiser Music Publishing #S511035. Published by Lauren Keiser Music Publishing

Violin and piano

SKU: M7.APUE-516186

Edited by Karen North. Sheet music. Score and part. MDS (Music Distribution Services) #APUE 516186. Published by MDS (Music Distribution Services) (M7.APUE-516186).

ISBN 9781875516186.

Lyri cal Violin Legends is an exciting collection of 20 works for violin and piano, featuring exclusively commissioned works by contemporary composers and inspiring new arrangements of 19th and 20th century compositions. Listen to the legends, discover beautiful scenes and enjoy lively dances through the alluring lyricism of this music. These exclusive commissioned works and new arrangements are suitable for intermediate level players. The violin part includes biographies of all composers and notes/ performance suggestions for each work. All pieces in Lyrical Violin Legends have free violin & piano recordings to listen to, as well as free piano backing tracks to play along with. Composers: Johannes Brahms, Antonin Dvorak, Hans Engelmann, Sally Greenaway, Greg Harradine, Jolin Jiang, Scott Joplin, Elena Kats-Chernin, Toivo Kuula, Rachel Laurin, Edward MacDowell, Felix Mendelssohn, Merryl Neille, Heather Percy, Gary Schocker.

Violin, Piano

SKU: BA.BA11086

Composed by Thomas Daniel Schlee. Stapled. Urauffuhrung 24.10.2017, Wien. Performance score, Part (1). Opus 82. 20/9 pages. Baerenreiter Verlag #BA11086_00. Published by Baerenreiter Verlag (BA.BA11086).

ISBN 9790006564446. 32.5 x 25.5 cm inches.

A suite whose movements always deliver something other than what they seem to promise. But throughout, the two instruments and respectively their players act like two people in very specific situations:

I.: The opening movement is reserved for the piano; the initially earnest, solitary cantilena intensifies creating expectation. Suddenly
II.: the violin sounds. Its moving figures replace the now silent piano, also soloistically.
III. „Passacaglia“ : The title is taken literally – the two instruments/persons encounter each other in the street. Two musical characters who meet at a specific point, recognize each other, but move on again, each one by itself.
IV. „Rondo“: The two of them dance together. Before me, I saw people dancing the Sardana – a round dance – in front of the cathedral of Barcelona. Four themes in different time signatures circle ceaselessly between the two instruments.
V. „Fuga“: At last, regardless, panic flight – again the title is taken literally ... Human, only too human …

(For Violin And Piano). By Doris Magaly Ruiz Lastres. For violin and piano. Score and part. 18+8 pages. Published by Hildegard Publishing Company

Violin and Piano. By Sheila Nelson. (Violin). Boosey and Hawkes Chamber Music. Size 9.25x12.25 inches. 42 pages. Published by Boosey and Hawkes.

Violin, piano

SKU: FG.55011-615-3

Composed by Kalevi Aho. Solo part & piano reduction. Fennica Gehrman #55011-615-3. Published by Fennica Gehrman (FG.55011-615-3).

ISBN 9790550116153.

Kale vi Aho (b. 1949) composed Violin concerto No. 2 in late summer and early autumn 2015 for the Finnish violinist Elina Vahala. Lasting about 32 minutes, the second concerto is a large-scale virtuoso work dominated by the soloist. The strong-featured first movement (Allegro) begins with a fairly short orchestral introduction that is followed by the soloist's first vigorous statement. Around the middle of the movement is a cadenza, and the movement ends with a quick stretta. The soloist dominates the events in the slow second movement (Adagio) even more than it did in the first. The Adagio begins with the same opening motif for the soloist as the first movement, but this time the motif is more lyrical and singing. Having built up to a dramatic climax, it subsides on flageolet notes and finally sounds that are somewhere between musical notes and noise. The third movement (Vivace, leggiero) is by nature dance-like again and lighter than the previous ones. At the end, the tempo accelerates to a wild, virtuosic prestissimo. Piano reduction (2020) by Kari Vehmanen.