/ 2 Instruments Solo (Flûte Traversière, Violon (Hautbois) / 2 Flûtes Traversières), Instrument(S) A Cordes (3 Violons), Basse Continue Ou 2 Instruments Solo Et Basse Continue

/ 2 Instruments Solo (Flûte Traversière, Violon (Hautbois) / 2 Flûtes Traversières), Instrument(S) A Cordes (3 Violons), Basse Continue Ou 2 Instruments Solo Et Basse Continue

/ 2 Instruments Solo (Flûte Traversière, Violon (Hautbois) / 2 Flûtes Traversières), Instrument(S) A Cordes (3 Violons), Basse Continue Ou 2 Instruments Solo Et Basse Continue

Edizione Critica Di Italo Vescovo. Par PAGANINI NICCOLO. Paganini’s Sonata a violino solo (M. S. 6), composed during his Lucca period (1805-1809), forms part of a series of music written for solo violin that has failed to attract the attention of both performers and scholars interested in Genoa’sfamous violinist. This work – published several times in the nineteenth century (especially outside Italy, with various titles: Duetto per un violino solo, Duo Merveille, Meraviglia di Paganini word etc. ) – is divided into twomovements ( Adagio – Allegro molto ). Paganini used a two-staff system of musical notation to produce two distinct levels of sound, as well as graphically: pizzicato on the lower line, arco on the upper. It is a short, pleasing piece, containing all the typical characteristics one expects from Paganini: melody and instrumental virtuosity. This critical edition, based on the autograph kept at the Biblioteca Casanatense in Rome as part of a collection of the most important editions from the 1800s and 1900s, is intended to provide scholars and performers a philologically reliable textthat revives the original version. / Niveau : Intermédiaire / Répertoire / Violon

1001 Nights in the Harem. Par SAY FAZIL. 'My Violin Concerto consists of four movements whose inspiration is loosely connected with Scheherazade’s One Thousand and One Nights. The first movement is set inside the harem; a variety of women from the harem are introduced, each with her own different personality. The second movement is a frenzy of dance – in effect a party night with an abundance of different types of dance music. The third movement depicts the next morning and consists primarily of variations on a well-known Turkish song. The fourth movement begins dramatically, but develops during the course of the movement more and more into a reminiscence of all the previous events and the work culminates dreamily in a happy mood with sensuous oriental sounds. As appropriate for an oriental soundscape, the orchestra includes a series of Turkish percussion instruments such as a kudüm or bendir, but also glockenspiel, marimba und vibraphone, celesta and harp. It is however the solo violin which tells the story and also accompanies the listener through the entire work. The violin part is highly virtuoso and unites the four movements into an intensely atmospheric whole in which the solo violin soars off into a solo cadenza between each movement, sometimes accompanied by one of the percussion instruments. As is customary, the present piano reduction is initially intended as an aid for the study of this work, but during my tour programmes with Patricia Kopatchinskaya and Burhan Öçal we have utilised this material to create a trio version for violin, piano and percussion.' Fazil Say/ Répertoire / Violon et Piano

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

Herausgegeben von | Edited by Italo Vescovo. Par PAGANINI NICCOLO. Nicolò Paganini's works for solo violin are one of the most significant components of his musical production, and consist of compositions written throughout his entire lifetime. This collection highlights various elements of interest, including the exploration of different sounds and instrumental techniques. / Niveau : Avancé / Recueil / Violon

Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent

Easy Popular Movie Instrumental Solos is an accessible selection of movie hits for the beginning student, with simple notation and a play-along CD. Available for flute, clarinet, alto Saxophone, tenor Saxophone, trumpet, horn in F, Trombone, violin, viola, cello and piano accompaniment.

This series offers a versatile selection of music for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, and cello. Each book contains carefully edited arrangements appropriate to each instrument, and is well suited for level 2-3 students. The CD includes a fully orchestrated demo track of each song, which features a live instrumental solo performance, followed by a play-along track. Also included are PDFs of piano accompaniments, and Alfred\'s Tempo Changer Software. / Violon

Ce livre fait partie d'Alfred de Harry Potter Solos série instrumentale arrangée pour violon, alto, et violoncelle. Tous les arrangements d'instruments à cordes sont entièrement compatibles et peuvent être réalisées avec succès comme des ensembles ou des solos. Chaque livre comprend les accompagnements au piano, une partie de chaîne amovible, et un accompagnement entièrement orchestrée MP3 CD, qui propose chaque chanson comme une piste de démonstration des performances en direct suivie d'une piste play-along. / Violon

Par STACY PHILLIPS. Une collection de 120 mélodies méticuleusement transcrit à partir d'enregistrements par les maîtres du style klezmer, dont Dave Tarras, Naftule Brandwine, Abe Schwartz et beaucoup d'autres. Ecrit en notation standard pour instruments C, cet ouvrage comprend accompagnement cordal, notes de programme pour chaque morceau et entrevues avec l'ethnomusicologue Dr Walter Zev Feldman et de maître de musique klezmer musicien Andy Statman. / Niveau : Intermédiaire / Jewish - Solos / Recueil / Violon