Johannes Brahms: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

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

Sheet Music Edition. Par DAVIES PETER MAXWELL. Sir Peter Maxwell Davies is universally acknowledged as one of the foremost composers of our time and as he reaches his 75th birthday in 2009 he remains prolific. The sonata for violin and piano was written for the virtuoso violinist, Ilya Gringolts and first performed at the St Magnus Festival in Orkney in 2008. The work is principally concerned with Italian architecture and the music takes both performers and audience across an imaginary walkway over Rome as proposed by the architect Giuseppe Rebecchini. Starting at the 17th Century Chiesa Nuova the exceptional journey passes Renaissance churches, exhibition spaces, the river Tiber, glass façades, sculptures and even a prison where a Lazio folk tune can be heard echoing from behind the walls. The journey ends 15 minutes later at Gianicolo, an area where one can take in breathtaking views over the whole city./ Répertoire / Violon et Piano

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's correspondence proves that he was directly involved in the printing of the sonata. Consequently, our new scholarly performing edition draws mainly on the first edition of the separate violin part. For the piano part, the first edition of the version for violoncello and piano, which appeared during Franck's lifetime, was an important source as many engraver's errors found in the first printing of the violin version had been corrected in this violoncello version. In addition to these sources, both autograph scores of the violin sonata (Franck's working copy and his fair copy) were consulted to clarify questionable readings.Bärenreiter's new edition also includes two short separate movements for the same instrumentation: the early 'Andantino quietoso? op. 6 (1843), a hauntingly beautiful piece composed for performances with Franck's violinist brother Joseph, as well as 'Mélancolie?, first published after Franck's death in 1911. This second piece is based on a solfège exercise and written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the three compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the sonata and its versions (Ger/Fr/Eng)- Two small individual movements for violin and piano published for the first time- Detailed Critical Commentary (Eng) / Violon Et Piano

Cohen Mary (Editor). Par COHEN MARY. Concert Repertoire for Violin combines imaginative arrangements with original pieces, all of which have been carefully selected and written for players of Grade 4-7 standard. The pieces are varied and fun and will help players to improve technically as they move towards tackling the more advanced repertoire. Air From Suite In D BWV 1068 (JS Bach) Badinerie From Suite In B Minor BWV 1067 (JS Bach) Chanson De Matin (Elgar) Corrente From Sonata Op 2 No 4 RV 20 (Vivaldi) Habanera (Bizet) Hungarian Dance No 4 (Brahms) Serenade (Solo) (Sculthorpe) Serenade (Tchaikovsky) Sicilienne (Paradis) Solveig's Song (Grieg) Torch Dance (German) Without Care (Reinecke) / Niveau : Assez Facile / Date parution : 2006-10-26/ RĂ©pertoire / Violon et Piano

This edition contains all of Janácek's works for violin and piano:the Sonata as well as the 'Romance and Dumka?, composed while he was still a student.Though probably written as early as 1914, Janácek's Sonata for Violin and Piano was revised several times before finally appearing in a definitive version in 1922.This new edition of the Sonata and the 'Romance? is based on the 'Complete Critical Edition of the Works of Leo? Janácek?(Vol. E/1) with a clearer notation to optimise readability. For the Dumka the editor has drawn on the sole autograph source, the violin part (still considered lost when the above mentioned Complete Edition volume was published), and the revised version contained therein.Unlike the first edition, it also contains Janácek's detailed dynamic markings.- Newly engraved edition with notation adapted to conform with modern usage- Revised version of Dumka with original dynamic markings- Foreword by leading Janácek scholar Alena Nemcová (Cz/Eng/Ger / Violon Et Piano

These two collections (BA 9668, BA 9669) give young students and teachers a rich selection of recital pieces, either to complement the Sassmannshaus 'Early Start on the Violin? method or to play independently from it. As all the pieces are written entirely in first position, they can be used after just a few months of lessons.The piano part may be played by the teacher or an advanced student. As an alternative, the accompaniment can be played by a second violin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes, folksongs but also less well-known gems, as well as original pieces by the editors, all precisely tailored to meet the needs of young students.- New recital pieces for the tried and trusted Sassmannshaus violin method- All pieces written in first position- With a second violin part for duet performance- Available in freely accessible recordings on YouTubeKurt Sassmannshaus, the editor of a great many string editions in the Bärenreiter catalogue, continues the tradition founded by his father Egon Sassmannshaus in the 'Early Start? string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the cello. / Violon

Following the birth of her first child, violinist Rachel Barton Pine went looking for a collection of lullabies written for violin and piano. After finding nothing in existence, she set about gathering sheet music and recording her own versions with pianist Matthew Hagle. This new collection celebrates the beauty of new life and parenthood with familiar tunes and new discoveries by composers such as Brahms, Ravel, Fauré, and Gershwin. Meticulously edited, these are short and elegant while remaining compositionally sophisticated, perfect for intermediate or advanced violinists. As an additional resource, the collection contains downloadable piano accompaniments and tracks performed by Matthew Hagle. / Violon Et Piano