for Cello and Piano Violin Cello and Piano Flute and Piano-Chopin's works for piano and strings were usually made for a specific occasion and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello the last work by the composer intended for publication a work reflecting his current style highly reflective the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by by I. J. Paderewski L. Bronarski and J. Turczy ski.Chopin's works for piano and strings were usually made for a specific occasion and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello the last work by the composer intended for publication a work reflecting his current style highly reflective the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by by I. J. Paderewski L. Bronarski and J. Turczy ski.

Par CHOPIN FREDERIC / KOMINEK. International (more than one language)/ Répertoire / Quatuor à Cordes

Par CHOPIN FREDERIC. Transcription de Chapelier / classique / Répertoire / Violon et Piano

La référence FP 964 de l'éditeur Fertile Plaine dont l'auteur célèbre est Mereaux F., qui a pour titre Valse op 64/3 ( d'après Chopin, violon et piano ), a été écrite et composée pour Violon et plus particulièrement pour Violon Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violon Et Piano / Partition

Piano Trio in g minor op. 8-Fr?d?ric Chopin composed his piano trio when he was an 18-year-old student. About the performance of the trio on 31 August 1830 he wrote: ???On Sunday we rehearsed the trio. Perhaps because I haven???t heard it for awhile I was very happy with myself (fortunate man!).??? Incidentally Robert Schumann also shared this opinion writing in a review: ???Is it not as noble as possible more full of enthusiasm than any song ever written by apoet original in the smallest detail as in the whole every note music and life'??? We agree with this verdict and recommend this trio in our new Urtext edition to all lovers of highly romantic chamber music.

for piano quartet. Par DAVIES PETER MAXWELL. The two nocturnes were composed immediately after major surgery, against a deadline, and, despite the music sounding unlike anything I have written before, I decided to keep them exactly as they turned out. 2010 is a Chopin year, and I made this pair of nocturnes into a little tribute, after playing through and listening to most of his output. Never before had I composed under these drugged conditions – the musical dimensions were enormously exaggerated, with each interval and each phrase being elongated out of all proportion, and the whole few minutes filling the whole of time and space. The orchestration, for piano quartet, was influenced by the very neo-classical feel of the chamber version of the concertos, and the harmonic language very much the result of pondering Chopin’s very individual take on J.S Bach. They are dedicated to James MacMillan and Amelia Freedman respectively. Sir Peter Maxwell Davies (2010)/ Répertoire / Piano, Violon, Alto et Violoncelle

Transcriptions by the Violinist Nathan Milstein of a Chopin Nocturne found after his death Tchaikovsky's 'Lullaby' from Mazeppa and Lizst's Consolation.

La Melancolie is a famous melody first written by Ole Bull in 1850. It is often known under the name I Ensomme Stunde (?In Moments of Solitude?). It has been arranged here for solo Violin with Piano accompaniment. Ole Bull (1810-1880) was a Norwegian composer Violin virtuoso and nationalist. He started playing early in life performing as a soloist with the Bergen Philharmonic orchestra before the age of ten. He later studied in Paris where he met Chopin Rossini and Paganini before launching a highly successful career as a touring virtuoso performing all across the UK North America and mainland Europe. Few of hiscompositions have survived but perhaps best known is his Saeterjentens Sondag.

This volume contains a selection of the most appealing classical melodies for two violins. The parts make the most of the lower range of the violin and the player is not expected to read too many ledger lines for high notes.From the contentsMelody from ?La Traviata? (G. Verdi) Tales from the Vienna woods (J. Strauss) Polonaise (F. Chopin) Overture and Aria from ?The Magic Flute? (W. A. Mozart) Melody from the Ballet ?Swan Lake? (P. I. Tschaikowsky) In the Hall of the Mountain King (E. Grieg) Serenade (J. Haydn) Menuet (L. Boccherini) Halleluja Chorus from the ?Messiah? (G. F. Handel) Autumn (A. Vivaldi)The authorBorn in Belarus VladimirBodunov (1981) is an arranger composer and artist. He plays the violin piano and singing saw.

arranged for Pianoforte and String Quintet-Concerto for Pianoforte and Orchestra No.4 Op.58: arranged for Pianoforte and String Quintet.Piano Violin (2) Viola (2) Violoncello.This anonymous sextet arrangement of Beethoven’s Fourth Piano Concerto was highly popular in Vienna during the composer’s lifetime. We know this from at least two sets of handwritten parts which were then in circulation.No Piano part has been handed down; indeed the original sets of parts probably omitted the Piano.The soloist presumably studied his part from the first edition of the solo part published with the original performance material in 1808. (The full score did not appear until 1861).The sextetversion deftly integrates the original wind parts into the string texture. The arrangement stands in the tradition of Piano reductions with chamber music accompaniment of the sort which were also made for Mozart’s Piano concertos K.413 to 415 and later for the Chopin concertos.This Urtext edition edited by the renowned Beethoven scholar Jonathan Del Mar presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary.First ever publication of this arrangement.Includes a separate solo part as was customary in Beethoven’s day.Provides new possibilities for soloists to perform this work.

This 96-page book has been prompted by the many people who have come to the author with the common wail I can play the piano - a bit of Mozart and even an easy Chopin waltz - but I can't harmonise anything by ear when my friends ask me or even when I'm alone. But anyone can - YOU CAN. This practical guide to improvisation is aimed at all those who have a beginner's knowledge of the keyboard and who want some fun from it.

Par LERDAHL FRED. Waltzes, a cycle of twelve virtuoso waltzes for violin, viola, cello, and double bass, was commissioned by the Spoleto Festival USA in Charleston, where the first nine waltzes were premiered in 1981. Soon thereafter I composed the final three waltzes. The violinist Rolf Schulte led the first performance of the complete work in New York City in 1983. Waltzes lasts about 22 minutes and is dedicated to the violist Scott Nickrenz, who directed the chamber music series at Spoleto. In arranging the commission, Mr. Nickrenz made three stipulations: make my modernist idiom accessible for summer-festival listening, provide a challenge for brilliant string players accustomed to 19th-century repertory, and give the piece a loud ending. The idea of composing a set of waltzes came from the pleasure I took in playing waltzes by Schubert and Chopin at the piano. Waltzes incorporates occasional references to the music of past composers, but always in ways that fit within my own musical language. Its instrumentation for “low” string quartet is reminiscent of Schubert’s Vienna./ Répertoire / Violon, Alto, Violoncelle et Contrebasse