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Grand Duo Polonais Pour Violon Et Piano
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(Violin/Piano)
SKU: HL.133441
Composed by H. Wieniawski. PWM. Classical. Polskie Wydawnictwo Muzyczne #10426010. Published by Polskie Wydawnictwo Muzyczne (HL.133441).
UPC: 884088982751.
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Grand Duo Polonais
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
Violin and Piano SKU: BT.PWM10426
Pour violon et piano concertant
....
(+)
Violin and Piano
SKU: BT.PWM10426
Pour violon et piano concertant
. Composed by Henri Wieniawski. Book and Part(s). Composed 2023. 44 pages. Polskie Wydawnictwo Muzyczne #PWM10426. Published by Polskie Wydawnictwo Muzyczne (BT.PWM10426).
English.
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Grand Duo Polonais Pour Violon Et Piano
PWM (Polskie Wydawnictwo Muzyczne)
(Violin/Piano) SKU: HL.133441 Composed by H. Wieniawski. PWM. Classical. ...
(+)
(Violin/Piano)
SKU: HL.133441
Composed by H. Wieniawski. PWM. Classical. Polskie Wydawnictwo Muzyczne #10426010. Published by Polskie Wydawnictwo Muzyczne (HL.133441).
UPC: 884088982751.
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violin and Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wi...
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2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.
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Werke Für Gitarre Und Gitarre Mit Violine Oder Flöte/ Biografisch Eingeführt Von Nicola Giuliani.
[Sheet music]
Schell Music
Nicola Giuliani, né en Italie et un descendant de la grande Giuliani Mauro s'as...
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Nicola Giuliani, né en Italie et un descendant de la grande Giuliani Mauro s'assoit pendant de nombreuses années joué un rôle actif dans le patrimoine de ses ancêtres sous la forme d'une recherche intensive sur la vie et de travail du guitariste et compositeur. Ses activités comprennent la rédaction de biographies, des faits et des documents de la collection et l'organisation d'expositions sur le thème de Mauro Giuliani. Impressionné par la richesse des documents et des anciens éditeurs de partitions ont pris la Felix Schell auteur Nicola Giuliani sous contrat avec lui et a conçu une nouvelle édition, qui contient à la fois une biographie détaillée, ainsi que d'autres moins connus dans les oeuvres originales du maître. Ce sont, tout d'abord, deux arrangements de guitare sur des airs populaires ('Nuovo Rondo' en 68 et 'Air Allemande' avec 5 variantes), et Mayseder de 'Polonaise' dans un arrangement pour violon ou flûte et guitare sur l'autre. Les manuscrits de musique anciens n'ont pas été modifiés, mis à jour pour le mieux, mais dans une composition typographie moderne. La sortie comprend environ 70 pages et comprend un insert pour violon / flûte. / Guitare, Violon Et Flûte / 64 pages / Partition
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Ciaccona - In memoriam Giovanni Paolo II (PENDERECKI KRZYSZTOF)
Trio avec Piano
Schott
Transcription for piano trio by Jeajoon Ryu (2021). Par PENDERECKI KRZYSZTOF. La...
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Transcription for piano trio by Jeajoon Ryu (2021). Par PENDERECKI KRZYSZTOF. La Ciaccona pour orchestre à cordes composée en 2005 à loccasion du décès du Pape Jean Paul II constitue la pièce dorigine de cet arrangement. Le compositeur la reprise en tant quinterlude instrumental dans son Requiem Polonais, un oratoire de grande envergure. Des arrangements pour violon et alto, pour piano, pour deux pianos, pour trois accordéons et pour six violoncelles ont été créés au cours des années suivantes. / Date parution : 2022-07-30/ Répertoire / Trio avec Piano
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BEST OF CHOPIN
Piano solo
Schott
Avec cette collection de 30 compositions originales populaires et d'arrangements...
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Avec cette collection de 30 compositions originales populaires et d'arrangements pour piano, Schott présente une sélection des ?uvres de Frédéric Chopin qui ravira tous les pianistes. Outre le Prélude de la goutte d'eau et des pièces d'enseignement populaires, le volume contient également des arrangements des deux célèbres concertos pour piano en mi mineur et en fa mineur, de la Krakowiak et bien d'autres. Tous les morceaux sont de difficulté moyenne et ont été complétés par des doigtés ainsi que des suggestions de métronome. Ce recueil, imprimé dans un style moderne et agréable à lire, est recommandé non seulement pour l'enseignement, mais aussi pour tous ceux qui jouent du piano en tant que hobby.Polonaise g-Moll BI 1Polonaise B-Dur BI 3Polonaise As-Dur BI 5Prelude e-Moll op. 28/4Prelude h-Moll op. 28/6Prelude Des-Dur op. 28/15Prelude A-Dur op. 28/7Walzer a-Moll op. 34/2Walzer a-Moll BI 150Walzer Des-Dur op. 64/1Walzer h-Moll op. 69/2Mazurka fis-Moll op. 6/1Mazurka B-Dur op. 7/1Mazurka a-Moll op. 7/2Mazurka F-Dur op. 68/3Nocturne B-Moll op. 9/1Nocturne Es-Dur op. 9/2Nocturne cis-Moll BI 49Trauermarsch aus der Sonate b-Moll op. 35Etüde E-Dur op. 10/3Etüde f-Moll op. 25/2Fantasie-Impromptu cis-Moll op. posth. 66Klavierkonzert Nr. 1 e-Moll op. 11Klavierkonzert Nr. 2 f-Moll op. 21Krakowiak F-Dur op. 14Introduktion und Polonaise brillante C-Dur op. 3Andante spianato et Grande Polonaise Es-Dur op. 224. Satz aus Klaviertrio g-Moll op. 83. Satz aus Sonate für Violoncello und Klavier g-Moll op. 65Der Wunsch op. 74/1Der Frühling op. 74/2Melancholie op. 74/13 / Piano / Schott
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