Another tremendous compilation of fabulous Violin Sonatas from the Eighteenth Century. Featuring three works by Francesco Geminiani Antonio Vivaldi and Richard Jones set for Violin and Keyboard instrument accompaniment. Ideal for intermediate level repertoire these are wonderful examples all from the golden age of Violin music.

a cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to offer performers works that satisfy clear critical and musicological criteria. This anthology includes ten sonatas carefully selected from among those written by ten of the most important eighteenthcentury Italian composers of violin music. Tomaso Albinoni: Sonata op. VI n. 7 - Arcangelo Corelli: Follia op. V [n. 12] - Francesco Geminiani Sonata op. IV n. 11 H. 95 -Pietro Antonio Locatelli: Sonata op. VI n. 5 - Pietro Nardini: Sonata op. V n. 3 - Gaetano Pugnani: Sonata op. VII n. 1 - Giuseppe Tartini:Sonata op. I n. 10 B. g 10 [?Didone abbandonata?] - Francesco Maria Veracini: Sonata op. II n. 8 - Giovanni Battista Viotti: Sonata op. IV n. 4 W. V/4 - Antonio Vivaldi: Sonata RV 10

Music Minus One Violin-Chausson's lovely Poeme a lush late-nineteenth-century symphonic poem for violin and orchestra and Schubert's Rondo another single concerted movement but from the first part of that century make perfect companion pieces. Filled with luscious 19th-century themes but given the very different treatments typical of each composer and also of their very different musical eras. Both are marvelous concert-pieces. Contains a printed score and a compact disc featuring both concerti in split-channel stereo with the violinist on the right channel then again in a stereo accompaniment version minus the solo violin part. Performed by Geoffrey Applegate violin Accompaniment:Stuttgart Symphony Orchestra Conductor: Emil Kahn

8 Twentieth-Century Pieces-Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik' Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of thesearrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.

Fragment of the string quartet Silent Walls-'Novelty of form selected modulations strange tone colours the use of completely unexpected rhythms' this is how Camille Saint-Saëns praised the debut work of a young colleague and continued: 'Above everything is a charm that surrounds the whole work and makes the mass of average listeners accept the most surprising audacities as something entirely natural.' The First Violin Sonata by Gabriel Fauré (1845 1924) was indeed an extraordinary composition which at the same time opened the way for the oeuvre of one of the most important French composers in the late 19th century and early 20th century: It was particularly with songs and pianomusic that he could win the heart of the audience. In the 1870s Fauré wrote three songs which were originally not meant to be a unity but were later assembled under opus number 7. The first song is 'Après Un Rêve' a romantic rapturous song which like a 'Song Without Words' by Mendelssohn is perfect for making music with an accompanied solo instrument.

This chamber piece is the first of a two-part work depicting the dances of Hungary and songs of the Hussars. The brilliant virtuoso Rózsa Csárdás is full of typical rhythms of Eastern European music and delightful if demanding moments. After a career spanning decades and all of Europe ending as one of Hungary?s most significant musical figures of the last century Jenö Hubay fell out of the music-loving public?s consciousness for a time. Recent scholarship and support has begun to return this maestro to his rightful place in the heart of serious 20th century music. Born in Pest now Budapest Hubay began his solo Violin career at the age of 11 performing throughoutEurope. After establishing himself in Paris founding several quartets and chamber groups and heading the department at the Brussels Royal Conservatory. At the request of Franz Liszt he returned home to lead the Conservatory of Budapest and launch a parade of highly accomplished Violinists onto the world stage.

Trio for two Violins and Basso continuo in E-flat major (TWV 42:Es1)Tafelmusik IIf Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and againwe discover an individual approach in his works that seems to abandon the musical conventions of his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: Influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.1 was incorporated into the repertoire of numerous late 19th-century violinists soon after it was written. It was also this sonata which inspired Marcel Proust when he wrote about the fictional sonata by the composer Vinteuil in his novel ?À la recherche du temps perdu?. This performing edition edited by Fabien Guilloux and François de Médicis is based on the musical text from ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4 in which Saint-Saëns? lengthy corrections of the Durand first edition as well as the autograph sources have been meticulously evaluated. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-29/ Répertoire / Violon et Piano

Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano

für Violine und Klavier. The Romances op. 22 are today among Clara Schumann?s most popular chamber music works. For violinists and pianists, they?re also of particular importance due to the wealth of information by Schumann, Joseph Joachim, and Wilhelm Joseph von Wasielewski on fingering, bowing, and phrasing in these three pieces. While working on the composition and publication of the Romances op. 22, Schumann was in close contact with these two great violinists of the nineteenth century. She consulted Wasielewski while completing an early version of Romance no. 1, while Joachim was involved in a later, complete version and the preparation of the first edition. Jacqueline Ross? scholarly-critical edition is the first to include, in addition to the first edition, the numerous manuscript sources that survive today, such as: Schumann?s draft manuscript, presentation autographs for Wasielewski and Joachim, as well as copyists? parts once owned by the two violinists. This edition has two separate parts for the violin, allowing its use in two ways: first, as a straightforward Urtext edition: and second, as an edition informed by historical performing practice, supported by the detailed Performing Practice Commentary on nineteenth-century violin and piano technique.

Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano

The practice of letting the soloist improvise their own Cadenza during a Concerto had almost died out by the nineteenth century since composers disliked the way performers frequently used the oppurtunity to showcase their own virtuosic talent rather than working out a cadenza which would suit the music. These four Cadenzas for Mozart Beethoven Brahms and Paganini concerti however have been carefully worked out and performed by the modern violinist Nathan Milstein. They are extremely challenging but avoid 'empty virtuosity' - they have real musical value as one would expect from one of the finest Violinsts of the Twentieth Century. They can be used for performance or as astudy aid to the art of Cadenza improvisation. All four Concertos have been recorded by Milstein.

Style Structure Performance-This book combines a performance guide for violinists an analytical study an exploration of Bach's style and an investigation of musical form and continuity. J.S. Bach's three sonatas and three partitas for solo violin have been mainstays of the violin concert repertoire since the mid-nineteenth century; their long performance history evidenced in recordings as well as in editions offers an opportunity to study the ways in which notions of Baroque style have evolved. Central to the book is the question what type of analysis is best applied to Bach's music: wherever possible Lester draws his analytical tools from eighteenth-century techniques developed for thisrepertoire.

The twenty-five pieces in this collection date back to 18th and 19th century Scotland. Included are song and fiddle airs strathspeys reels jigs a hornpipe and the sword dance. The pieces are arranged for viola and cello withguitar chords. Since the viola generally has the melody the pieces can also be played by solo viola. The music of Scotland is unique. The airs have their own special beauty and the dances are fun to play with lively tempos dotted rhythms and sudden key changes. This music has been the pleasure of country fiddler and pipers. Now violists and cellists and their listeners can feel themselves transported to the Lowlands and Highlands of Scotland. Twenty-five pieces dating back to 18th and 19th century Scotland. Includes song and fiddle airs strathspeys reels jigs a hornpipe and the sword dance. Since the viola generally has the melody the pieces canalso be played by solo viola and guitar chords are included. The airs have a special beauty and the dances are fun to play with lively tempos dotted rhythms and sudden key changes.