Composed by Jean Sibelius (1865-1957). Arranged by Otto Taubmann. Edition Breitk...(+)
Composed by Jean Sibelius
(1865-1957). Arranged by
Otto Taubmann. Edition
Breitkopf. Early 20th
Century. Solo part,
piano reduction.
Breitkopf and Haertel
#EB-3122. Published by
Breitkopf and Haertel
(BR.EB-3122).
Composed by Jean Sibelius (1865-1957). Arranged by Otto Taubmann. Edition Breitk...(+)
Composed by Jean Sibelius
(1865-1957). Arranged by
Otto Taubmann. Edition
Breitkopf. Early 20th
Century. Solo part,
piano reduction.
Breitkopf and Haertel
#EB-3122. Published by
Breitkopf and Haertel
(BR.EB-3122).
Violin Abc Violon et Piano EMB (Editio Musica Budapest)
Violin and Piano (VIOLIN AND P) SKU: HL.50487758 Violin Tutor for begi...(+)
Violin and Piano (VIOLIN
AND P)
SKU:
HL.50487758
Violin
Tutor for beginners using
children's and folksongs
from all over the
world. Composed by
Judit Reger Jozsefne
Szasz, Laszlo Denes, and
Rudolf Nemeth. EMB.
Method, Tutor. Book Only.
122 pages. Editio Musica
Budapest #Z14098.
Published by Editio
Musica Budapest
(HL.50487758).
ISBN
9790080140987.
9.0x12.0x0.31 inches.
Hungarian, English,
German.
Violin ABC
is the perfect volume for
pupils to familiarize
themselves with the
instrument, basic musical
elements, and the
sensation of moving
naturally while playing.
Its editors comprise
renowned Hungarian
experts in the field of
violin pedagogy, and
their aim was to create a
publication that allows
children to have a joyous
first encounter with the
violin. Violin ABC helps
students learn to have
calm, relaxed posture and
movements through playful
illustrations. That way,
those who want to play
the violin can get a
worthwhile introduction
to the basics of the
violin repertoire through
various folk songs and
beautiful music
examples.The legendary
violinist, Yehudi Menuhin
(1916 - 1999), had this
to say about the
publication: ''I am
delighted to see a work
on the teaching of the
violin stress the
importance of the
preparation of our body
and limbs, of our minds
and our soul,
independently of the
instrument itself. I have
always said that,
ideally, I would like the
preparation to be so
complete and thorough and
enjoyable, that when a
child first picks up a
violin and a bow, it will
draw a clean sound.')' -
Yehudi Menuhin (1916 -
1999).
Violin, piano SKU: BR.EB-9250 Composed by Nicolaus A. Huber. Solo instrum...(+)
Violin, piano
SKU:
BR.EB-9250
Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf.
World
premiere: Toronto,
November 17, 2016Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez)
New
music (post-2000); Music
post-1945. Performance
score. Composed 2016. 12
pages. Duration 12'.
Breitkopf and Haertel #EB
9250. Published by
Breitkopf and Haertel
(BR.EB-9250).
ISBN
9790004185506. 10 x 12.5
inches.
Whereas
Nono considered the world
to be only fragmentarily
analyzable, so-called
consumer capitalism
increasingly intrudes
upon ego structures, by
fragmenting them to the
point of: assumed
insufficiency, i.e., was
consumption a form of
infiltration?, or: in
television you can see
models licking face cream
because it's so rich etc.
(retranslated), as
Meredith Haaf cited in
her book review (SZ /
23.05.2016 Alexandra
Kleeman: You Too Can Have
A Body Like Mine) , and
to the point of similar
perfection-senselessness.
Music doesn't do things
by halves. Even when
events or notes are
puffed up, they can
retain elegance and
significance. Other ego
amplitudes are of
violinistic nature or are
favourite memories -
Paganini's Capricci,
Stockhausen's Studie I,
Steve Reich, the tone C
and similar things. The
craziest egos are
quantums, because at no
time are they identical
with themselves. They can
entangle and superpose,
are nonlocal, etc.
Although the sound
character in this Duo is
fairly open, I believe I
succeeded in making
probability waves of
harmonic stopovers
perceptible. This means
hearing without analyzing
and without constantly
measuring. Nonlocality -
without messenger
particles - means no
harmonic steps, but with
the capacity to interact.
(Nicolaus A. Huber, May
2016)
World
premiere: Toronto,
November 17, 2016 Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez).
Violin and Piano - early intermediate SKU: BT.DHP-1043625-404 Composed by...(+)
Violin and Piano - early
intermediate
SKU:
BT.DHP-1043625-404
Composed by Alexei
Janschinow. De Haske
Study and Play.
Educational Tool. Book
with Part and
Audio-Online. Composed
2021. 16 pages. De Haske
Publications #DHP
1043625-404. Published by
De Haske Publications
(BT.DHP-1043625-404).
ISBN 9789043161763.
9x12 inches.
English-German-French-Dut
ch.
Study and
Play is ideal for
developing your playing
in an enjoyable and
musically sound way. Each
edition within this
concept features audio
recordings to add
something extra to your
study routine.When you
play
thisConcertino you
will be able to practise
at a slower study tempo,
as well as the normal
tempo, so that you can
work on your violin
playing in a more
concentrated way whilst
improving your insight
into the music. You
cancontinue to study in
this goal-orientated way
until you have achieved
the desired result.
The title of this piece
suggests a concert
situation: playing a solo
partwith accompaniment.
There are thousands of
such works for theviolin
but many of these cannot
be tackled until you have
been playing for a
considerable time.
Concertino in Russian
Style Opus 35 enables
you to gain necessary
experience for this type
of playing: namely having
sufficientmusical and
technical control over
your instrument whilst
having the support of an
accompanist during
performance. This
carefully chosen
concertino will enrich
your repertoire.
St
udy and Play ist das
ideale Konzept, um auf
vergnügliche und
sinnvolle Weise ein gutes
Spiel zu entwickeln.
Jedem Buch mit diesem
Konzept sind
Begleitaufnahmen
beigefügt, welche
die tägliche
ÃÅbungsroutine
individuellergänze
n. Mit Hilfe dieser
Aufnahmen kann das
Concertino im
langsameren
ÃÅbetempo sowie
auch im normalen Tempo
gespielt werden, sodass
man sich zunächst
ganz auf das Violinspiel
konzentrieren kann und
dabei die Musik
kennenlernt. So kann
zielgerichtet
geübt werden, bis
das gewünschte
Ergebnis erreicht
wird.
Der Titel dieses
Stückes beschreibt
die Situation in einem
Konzert: Es wird ein Solo
mit Begleitung gespielt.
Solche Werke gibt es
zutausenden für
Violine, viele
können jedoch erst
nach vielen Jahren
Spielerfahrung gemeistert
werden. Mit Concertino
in Russian Style Opus
35 kann man wichtige
Erfahrungen mit genau
dieser Art des Spiels
sammeln,
nämlichausreichend
musikalische und
technische Beherrschung
über das
Instrument zu erlangen
und gleichzeitig mit der
Unterstützung
eines Pianisten spielen
zu können. Dieses
sorgfältig
ausgewählte
Concertino ist auf
jeden Fall
eineBereicherung Ihres
Repertoires.
Study and
Play è il
concetto ideale per
sviluppare il vostro modo
di suonare in un contesto
piacevole e solidamente
strutturato. Le
registrazione di
accompagnamento vi
permettono di suonare sia
a tempo normale che
più lento,al fine
di migliorare la
concentrazione sullo
studio della tecnica e
avere un migliore
approccio con le varie
parti del brano. Le parti
dellââ¬â¢accom
pagnamento al pianoforte
incluse nelle
pubblicazioni (versione
cartacea) vipermettono di
suonare con un pianista
accompagnatore.
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
Chamber Music violin, piano SKU: PR.144407050 Composed by James Primosch....(+)
Chamber Music violin,
piano
SKU:
PR.144407050
Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 28+12
pages. Duration 20
minutes. Theodore Presser
Company #144-40705.
Published by Theodore
Presser Company
(PR.144407050).
UPC:
680160655519. 9 x 12
inches.
Celebrating
30 years, the
Philadelphia Chamber
Music Society
commissioned a work of
20-25 minutes for violin
and piano from James
Primosch, University of
Pennsylvania professor of
music. Primosch had
originally thought to
create a new sonata, but
what developed is more
appropriately a set of
five character pieces,
two of which were
directly inspired by
poems. Five Poems was
premiered in May, 2016,
and Primosch's thoughts
are recorded at his
website:
https://jamesprimosch.com
/2016/05/10/five-poems-pr
emiere/. Upon
receiving a commission
from the Philadelphia
Chamber MusicSociety for
a violin and piano piece
in honor of its 30th
anniversary, myplan was
to write a sonata, a term
suggesting a relatively
abstractdiscourse. But as
the piece developed, the
movements struck me
ascharacter pieces rather
than music employing a
more
“symphonicâ€ap
proach. When specific
poems started to attach
themselves in my mindwith
two of the movements, the
overall title Five Poems
became clear.The title of
the second movement is a
line from Susan
Stewart’s“De
scentâ€, which deals
with Aeneas’s
visit to the underworld.
The musicis alternately
fiercely driving and
quite still, though
tense.
RobertFrost’s
Nothing Gold Can Stay
summons fleet scale
passages framinglyrical
counterpoint. The
remaining movements do
not refer to
specificpoems, but have
titles reflecting their
expressive tone.
Dreamscape ismusing with
an improvisatory violin
line over shifting pairs
of pianochords. Nightsong
is a bluesy lullaby that
turns highly
dramatic.Vision begins
with a closely argued
struggle but breaks
through tosomething
spacious and clear.
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