Par AUER LEOPOLD. Leopold Auer. A collection of principles and guidelines set down after a lifetime of playing and teaching. / Pédagogie / Livre / Livre Musical

Par AUER LEOPOLD. From the master teacher of the Masters comes the most comprehensive and valuable method written. This book is suitable for the quick and dedicated, or older student. Also highly recommended for the advancing Suzuki player for introduction to note reading. / Date parution : 2023-05-06/ Méthode / Violon

Voici une méthode pour jouer, dès le début, avec un très beau son de violon ! M'appuyant sur plus de 20 ans de pratique de l'enseignement, je propose ici, fort de mon expérience auprès de mes élèves, non seulement les bases de la technique AUER pour la main droite, mais aussi les indications et exercices complémentaires nécessaires. - Sarah LABROUSSE-BAERTFormation : Violon SoloInstrumentation : ViolonNiveau de Difficulté : DébutantDurée : Plus de 15 mnsStyle Musical : PédagogiqueCatégorie : Composition Originale, MéthodeCompositeur : LABROUSSE-BAERT Sarah

Les éditions Carl Fischer Music ont édité sous la référence CF_1006159 cette partition musicale pour satisfaire au maximum les amateurs de musique Classique et plus particulièrement les pratiquant de Violon. Cette partition a pour titre Graded Course of Violin Playing Vol. 2 et pour compositeur Auer Leopold. / Violon

Arrangeur: Gustave Saenger. Par AUER LEOPOLD. Cette méthode historique (1926) correspond à un principe de base parfaitement juste et toujours d'actualité : au début, la technique de l'archet et celle de la main gauche sont entièrement séparées l'une de l'autre. L'élève continue les exercices d'asur corde à vide jusqu'à ce qu'il ait obtenu une certaine aisance d'archet et jusqu'à ce qu'on puisse noter en lui l'éveil et le développement de sa sensibilité à la sonorité. Ce travail systématique est excellent et il est certain que les élèves ayavaillé avec cette méthode posséderont, à la fin de la première année, des qualités de sonorité infiniment meilleures que ceux qui ont travaillé avec d'autres méthodes existantes. / Niveau : Débutant / Méthode / Violon

The Walnut Tree. Par SCHUMANN ROBERT. Given renewed interest in the violin arrangements and transcriptions by the great Leopold Auer, Universal Edition reprints two of its early publications. Both are taken from Schumann's song cycle, Myrthen, a series of poem settings expressing his feelings of love, companionship, and devotion to Clara./ 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

Dedication. Par SCHUMANN ROBERT. Given renewed interest in the violin arrangements and transcriptions by the great Leopold Auer, Universal Edition reprints two of its early publications. Both are taken from Schumann's song cycle, Myrthen, a series of poem settings expressing his feelings of love, companionship, and devotion to Clara./ Répertoire / Violon et Piano

Le Concerto pour violon opus 82 est l'une des oeuvres les plus connues de Glazounov. Depuis la première représentation en 1905 mené par le compositeur, quand Leopold Auer était le soliste, pratiquement tous les violonistes grands il eu dans leurs répertoires. La structure de le oeuvre était assez peu conventionnelle pour son époque. Le premier mouvement romantique et lyrique est suivi sans interruption (Andante) le deuxième mouvement, frappant et virtuose, avec sa caractéristique ' alla caccia 'thèmes. / Violon Et Orchestre

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