Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY FELIX. (replaces BA 9050-90) 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 première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, 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 Léonard. The letter informs us that the composer invited Léonard 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 Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard 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 Léonard' 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)/ Répertoire / Violon et Piano

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

Gems from the classical literature written for the violin, together with effective arrangements of light popular compositions. Every piece in this exhaustive compilation has been edited and fingered, and includes piano accompaniment. / Violon Et Piano

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive 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 première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, 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 Léonard. The letter informs us that the composer invited Léonard 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 Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard 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 Léonard'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)

10 Easy Compositions With Creative Performace Ideas. Par IGUDESMAN ALEKSEY. Aleksey Igudesman has always enjoyed writing pieces inspired by animals. His latest collections 'In the Zoo” and 'In the Zoo 2” were great fun and had the bonus of concealing useful technical studies in the music so that young players could improve their technique without knowing they were working hard! Aleksey wondered how he could follow these books and decided to choose animals that few people even knew existed. So, in 'Funny Animals”, for violin and piano, we meet such creatures as the Panda Ant, the Aye-Aye and the Dumbo Octopus! The animals are introduced with texts and pictures by his friend Magdalena Hoffmann. Aleksey says that, if you only want to play the music, that's great but he provides lots of theatrical instructions for a stage performance. You might find yourself blowing kisses to the audience or playing while standing on one leg! If you have the nerve to do this and film yourself for YouTube he says you should mention his name and tag him and you will find yourself featured on his own homepage. Do this, he says, and your route to stardom is guaranteed! The music does not demand great technical ability from the player but maybe… on one leg? / Niveau : Facile / Recueil / Violon et Piano

Ce livre est fondé sur le principe des Microjazz, une série de morceaux de style populaire classés par niveau de difficulté croissante. Il contient une sélection de pièces d´un grand intérêt rythmique qui tiennent compte des possibilités et du caractère propre de l´instrument soliste.Des accompagnements qui encouragent la créativité, associés à des parties solistes mélodieuses et rythmées offrent aux musiciens de tout age une véritable mine de styles. Ne jouez pas ces morceaux trop vite, faites bien attention aux nuances et à l´articulation et soyez scrupuleusement exact en ce qui concerne le rythme. Les parties solistes sont d´une difficulté technique modérée, mais elles méritent une étude approfondie de la part de musiciens de tous niveaux. La plupart des accompagnements, qui sont également faciles, conviennent au piano, aussi bien qu´aux claviers électriques ou électroniques.Contenu :Hendon BluesFace in the CrowdFly AwayA Dramatic EpisodeBecalmedPineapple BounceA SpiritualRustic DanceSnow DanceFolk BounceSwan SongWind UpSeascapeWelcome HomeSlogging it OutGentle RideOut WestA Jolly TimeUp and Away