Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano

A progressive selection of fifteen popular and celebrated works from the Classical period for the confident Violin soloist. A wide variety of pieces have been chosen from the great works of Haydn Mozart Schubert and Beethoven that demonstrate the elegance and symmetry of the Classical approach with pieces thatr challenge all manner of technique and authentic style. Generous and detailed performance notes are included by the distinguished and world-renowned Violin teacher Sheila M. Nelson.

Beethoven's Fifth Violin Sonata was the first to break away from the Classical three-movement sonata format. However the new Scherzo is barely more than a minute long. The relaxed lyricism is also a hint of Beethoven's development.

Description Compilations of Violin literature appropriate for students, arranged by difficulty level. Songlist Adagio (Sonata In D Minor) [Brahms, Johannes] Air Varie No.2 [Dancla, Charles] Air Varie No.5 [Dancla, Charles] Air Varie No.6 [Dancla, Charles] Allegro (Concerto No.3 In G) [Mozart, Wolfgang Amadeus] Allegro (Sonata In D) [Leclair, Jean-Marie] Allegro Appassionato (Four Romantic Pieces Op.75) [Dvorak, Antonin] Allegro Maestoso (Four Romantic Pieces Op.75) [Dvorak, Antonin] Canzonetta (Violin Concerto In D Op.35) [Tchaikovsky, Pyotr Ilyich] Concerto No.2 In E [Bach, Johann Sebastian] Finale (Sonatina In G Op.100) [Dvorak, Antonin] La Folia Variations Serieuses [Corelli, Arcangelo] Romance In F Op.50 [Beethoven, Ludwig Van] Sonata In E Minor [Mozart, Wolfgang Amadeus] Sonata In F Op.24 (Spring) [Beethoven, Ludwig Van] Sonata No.2 In G Minor [Handel, George Frideric] Un Poco Andante (Sonata In D) [Leclair, Jean-Marie]

Interm. Pieces by Bach Beethoven Corelli Dancla Mozart Sarasate Schubert Schumann Vivaldi-With two CDs of performances and accompaniments. Baroque Classical and Romantic violin solos suitable for the intermediate student violinist. The two enhanced CDs include performances and accompaniments of each piece and can also be used in computers to adjust the tempo. Content - Bach J.S.: Allegro from Sonata in B minor - Beethoven: Andante Scherzoso from Sonata op. 23 - Beethoven: Scherzo from Sonata op. 30 no. 2 - Corelli: Preludio and Allemanda from Sonata in E minor op. 5 no. 8 - Dancla: Air varie on a theme by Donizetti op. 89 no. 4 - Mozart: Adagio and Allegro from Sonata K.379 - Sarasate: Playera from Spanish Dances op.23 - Schubert: Finale from Sonatina op. 137 no. 3 - Schumann R: Phantasiestück op. 73 - Vivaldi: Largo from Winter (The Four Seasons)

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)

Beethoven?s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart?s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown?s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today?s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven?s ?Tempo di Minuetto? from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach?s ?Versuch über die wahre Art das Clavier zu spielen? to denote a rest. This musical symbol, which was included in the first edition published during Beethoven?s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions; this denotes an arpeggiated chord.

Classical Pieces Vol. 1 contains 11 Pieces by Bach Gluck Handel Mozart Beethoven Tartini Field and Hummel arr. for Violin and Piano.