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| Famous Japanese Melodies for Violin and Piano (with Karaoke CD) Violin and Piano SATB, Organ Yamaha
Violin and Piano SKU: YM.GTW01100445 Composed by Various. Japanese Tradit...(+)
Violin and Piano SKU: YM.GTW01100445 Composed by Various. Japanese Traditional Songs; Strings. Score and part. Yamaha Music Media #GTW01100445. Published by Yamaha Music Media (YM.GTW01100445). ISBN 9784636103052. 8.5 x 12 inches. Here, you can enjoy the beautiful Japanese classic tunes expressing the changing seasonal sentiments in this book. It features 25 songs, mainly nursery rhymes, children's songs, and shoka songs, and it comes with a karaoke CD of piano accompaniment. Please enjoy these wonderful arrangements, which are perfect for recitals and concerts. $21.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Violin party - Volume 3 Violin and Piano SATB, Orchestra Lemoine, Henry
Violin and piano SKU: LM.26851 Composed by Jean Marc Allerme. Pop, jazz. ...(+)
Violin and piano SKU: LM.26851 Composed by Jean Marc Allerme. Pop, jazz. Score and CD. Editions Henry Lemoine #26851. Published by Editions Henry Lemoine (LM.26851). ISBN 9790230968515. Two Days - Travel in winter - Here comes the jazz show - My friend Gabriel - Maria's memories - Never in September - When Charley meets Dan - For a moment of stillness - Time to rag - Somewhere in my heart - White and Blue song - Call me - Fleeting moment - She is gone - Like in a dream. $46.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Violin party - Volume 1 Violin and Piano SATB, Orchestra Lemoine, Henry
Violin and piano SKU: LM.26849 Composed by Jean Marc Allerme. Pop, jazz. ...(+)
Violin and piano SKU: LM.26849 Composed by Jean Marc Allerme. Pop, jazz. Score and CD. Editions Henry Lemoine #26849. Published by Editions Henry Lemoine (LM.26849). ISBN 9790230968492. With Gab - Care-Free - Two Stomp for you - Walkin'in a Louisiana street - As she like it - So goes the life - Robert's tune - Hi chazz - Eastern nostalgia - Around it - Goodbye Take - Whistling in the street - Leave me here - One Note for you - For Chris and Michel. $46.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Come Thou Fount
Violin and Piano [Score and Parts] - Intermediate Latham Music Enterprises
Instrumental Hymns, Violin Solo. How Firm a Foundation, Come Thou Fount of Every...(+)
Instrumental Hymns, Violin Solo. How Firm a Foundation, Come Thou Fount of Every Blessing, Spiritual, Simple Gifts, There is a Fountain, Be Thou My Vision, Holy Manna and Shall We Gather at the River. To 3rd position, some double stops. Published by Latham Music Enterprises.
(1)$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Excursions Violin and Piano Theodore Presser Co.
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit Ran. Set of Score and Parts. With Standard notation. 28+28+20+24+20+24 pages. Duration 20 minutes. Theodore Presser Company #414-41163. Published by Theodore Presser Company (PR.414411630). ISBN 9781491114551. UPC: 680160089956. 9.5 x 13 inches. EXCURSIONS is a one-movement work exploring two “characters.†A rhapsodic, descending passage is introduced by the cello, followed by a static, chorale-like phrase for the violin and cello. Their individual developments are separated by a slow, contrasting middle section. The composer has written: “This is analogous to situations in life: we stand by a crossroad, choosing one option and forfeiting the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination… or can we? It is symbolic that in this work both roads eventually lead to the same place.â€. Excursions for violin, cello and piano, is a one-movement work of tripartite structure in which materials explored in the first of three large sections are brought back in the last section. The traditional statement-contrast-restatement form, which is readily suggested by such a description, is, however, not at all in the mold in which the work is cast. Rather, my aim was to subject the essential materials of the piece (two “characters†–the rhapsodic, descending passage played by the cello in the very opening and, later, a static, slow moving, chorale-like phrase for the violin and cello) to two entirely different developments separated by a slow, contrasting middle section. This is analogous to an exploration of the ramifications that two divergent choices made by the same person might lead to. In life, as we stand by a crossroad, choosing one option usually means having to forfeit the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination…or can we? It is, I believe, symbolic that in this work both roads eventually lead to the same place: in composing Excursions, it seemed absolutely inescapable that at the end the slow, contrasting middle sections – both more resigned and peaceful than the battling spirits of the outer parts – should return briefly to end the work. The piano trio combination (once highly favored, but to this composer still as challenging today) is approached here as a collaborative effort of three equal soloists – partners. Of the available pairings, the two strings find themselves occasionally approached as a team pitted against the piano. The cello-piano combination is also not uncommon here, and there is an extended violin cadenza toward the end of the piece. The writing for the three instruments is closely and at times interlinked, but the players are all instructed to play from scores. Excursions was first performed at Brandeis University in 1982. $80.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Boy Paganini for Violin and Piano Violin and Piano [Reduction] Barenreiter
(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt ...(+)
(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt Sassmannshaus. For violin solo and piano. Stapled. Barenreiter's Concert Pieces. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Infant Paganini for Violin and Piano Violin and Piano [Reduction] Barenreiter
(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt ...(+)
(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt Sassmannshaus. For violin solo and piano. Stapled. Barenreiter's Concert Pieces. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lennox Berkeley: Five Pieces for Violin and Orchestra Op.56 (Violin/Piano) Violin and Piano Chester
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. M...(+)
Violin and Piano (Violin) SKU: HL.14004213 Composed by Lennox Berkeley. Music Sales America. Classical. Book [Softcover]. Composed 2002. 56 pages. Chester Music #CH55778. Published by Chester Music (HL.14004213). 9.0x12.0x0.175 inches. Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alla madre - concerto per violino ed orchestra Violin and Piano Fennica Gehrman
Violin, piano SKU: FG.55011-824-9 Solo part & piano reduction. Com...(+)
Violin, piano SKU: FG.55011-824-9 Solo part & piano reduction. Composed by Mikko Heinio. Classical, contemporary. Solo part & piano reduction. Fennica Gehrman #55011-824-9. Published by Fennica Gehrman (FG.55011-824-9). ISBN 9790550118249. Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, “Arrival: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the second movement, entitled Aura, “Air or Wind, does the initiative pass to the solo violin as it sets light to notes in the orchestra harmony like individual lamps. And not until the end of the second movement and the beginning of the third does the solo violin play completely on its own. The title of the first movement, “Arrival, underlines the event, the dramaturgy, whereas that of the second movement, “Aura, alludes to the texture and the shimmering space. The third movement is the most strongly emotional, as the name Carezza, “Caress suggests.
This product includes the solo part and the piano reduction (B4 sized).
The orchestral material is available from the publisher. The orchestration: 3(III+picc)3(III+ca)3(III=bcl)3(III=cfg)-4331-13-hp-str. $55.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Spanish Dances Violin and Piano SSA G. Henle
Score and Part Piano Accompaniment; Violin (Score and Solo Part) - x, x, x, x (+)
Score and Part Piano Accompaniment; Violin (Score and Solo Part) - x, x, x, x SKU: HL.51481370 Violin and Piano. Composed by Pablo de Sarasate. Edited by Peter Jost. Arranged by Ingolf Turban. Sheet Music. Paperbound. Henle Music Folios. With marked and unmarked string parts. Classical. Softcover. 120 pages. G. Henle #HN1370. Published by G. Henle (HL.51481370). ISBN 9790201813707. UPC: 888680749972. 9.25x12.25x0.391 inches. Just like many other violin virtuosos of the 19th century, Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folk music traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness, and are undoubtedly among his most successful compositions. In masterly fashion, Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate's Zigeunerweisen (HN 573), a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
$37.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 6 Sonatas Op. 4a Violin and Piano Breitkopf & Härtel
Violin, piano SKU: BR.EB-8327 Urtext. Composed by Tommaso Giordani...(+)
Violin, piano SKU: BR.EB-8327 Urtext. Composed by Tommaso Giordani. Edited by Martin Lutz. Solo instruments; Softcover. Edition Breitkopf. Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate. Sonata; Classical. Score. 48 pages. Breitkopf and Haertel #EB 8327. Published by Breitkopf and Haertel (BR.EB-8327). ISBN 9790004176351. 9 x 12 inches. Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate. The Sonatas Op. IVa show that Giordani is a Haydn contemporary who can really hold his own. Giordani's chamber-music works with obbligato piano were actually very important for the development of chamber music. Too bad Giordani did not contend himself with writing more of these enchanting ensemble sonatas rather than investing in dubious opera projects and going bankrupt. That was no way to become a serious Classical composer!
Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate. $27.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Violin Concerto in D Major, Op. 61 Violin and Piano G. Henle
Gidon Kremer Edition. Composed by Ludwig van Beethoven (1770-1827). Edite...(+)
Gidon Kremer Edition. Composed by Ludwig van Beethoven (1770-1827). Edited by Shin Augustinus Kojima. Henle Music Folios. Classical. Softcover. 168 pages. G. Henle #HN1148. Published by G. Henle (HL.51481148).
$59.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Three Pieces for Violin and Piano Violin and Piano [Score and Parts] Faber Music Limited
Three Pieces for Violin and Piano by Frank Bridge (1879-1941). For Violin and Pi...(+)
Three Pieces for Violin and Piano by Frank Bridge (1879-1941). For Violin and Piano. Masterworks; Part(s); Score; Solo; String - Violin and Piano. Faber Edition. 20th Century; Masterwork. Published by Faber Music
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First Repertoire for Violin Violin and Piano - Beginner Faber Music Limited
Edited by Mary Cohen. For violin and piano. Book; String - Violin Studies or Col...(+)
Edited by Mary Cohen. For violin and piano. Book; String - Violin Studies or Collection. Faber Edition. Intermediate. Published by Faber Music
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ambiances Violin and Piano - Intermediate/advanced FLEX Editions
Violin, Piano - Grade 4 SKU: FL.FX071167 Composed by Alain Lopez. Classic...(+)
Violin, Piano - Grade 4 SKU: FL.FX071167 Composed by Alain Lopez. Classical, Educational. Score and Set of Parts. FLEX Editions #FX071167. Published by FLEX Editions (FL.FX071167). The artistic skills and sensitivity of the musician are highlighted here, in order to recreate, thanks to varied metronomic movements, rhythms and nuances, ten atmospheres described throughout the Piece. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Violin concerto No. 2 Violin and Piano [Score and Parts] Edition HH
By Giovanni F. Giuliani. Edited by Adriano Cirillo. For Violin and keyboard. Ful...(+)
By Giovanni F. Giuliani. Edited by Adriano Cirillo. For Violin and keyboard. Full score and parts. 72 pages
$22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Romance (2003) Violin and Piano Chester
Piano Accompaniment; Violin SKU: HL.14041762 Violin and Piano. Com...(+)
Piano Accompaniment; Violin SKU: HL.14041762 Violin and Piano. Composed by Helen Grime. Music Sales America. Classical. Softcover. Composed 2011. 12 pages. Chester Music #CH79508. Published by Chester Music (HL.14041762). 9.0x12.0x0.071 inches. 'Romance for violin and piano is a short, reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist, Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing, numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece, the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.' - Helen Grime
Born in 1981, Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07, Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO, London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding, Oliver Knussen, Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Halle from the. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Violin Playlist Violin and Piano [Sheet music + Audio access] Schott
50 Popular Classics in Easy Arrangements. Composed by Barrie Carson Turne...(+)
50 Popular Classics in Easy Arrangements. Composed by Barrie Carson Turner. Arranged by Barrie Carson Turner. This edition: Saddle stitching. Sheet music. String. 50 beliebteste klassische Stucke in leichten Bearbeitungen fur Violine und Klavier. Basierend auf dem Konzept der Playlist aus der Welt des digitalen Musikstreamings prasentiert dieses Buch eine sorgfaltig ausgewahlte Sammlung der weltweit beliebtesten Kl. Classical. Edition with Online audio file, Softcover Audio Online. 13861. 56 pages. Schott Music #ED13861. Published by Schott Music (HL.49045385).
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Jenny Oaks Baker Violin Collection Vol 2
Violin and Piano [Sheet music] Jackman Music Corporation
By Various. Arranged by Crawford Gates, Kurt Bestor, Tyler Castleton, David Zabr...(+)
By Various. Arranged by Crawford Gates, Kurt Bestor, Tyler Castleton, David Zabriskie. For Violin and Piano. Level: Very Difficult. Published by Jackman Music Corporation.
(2)$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Works for Violin and Piano (1): Sonatas for Violin and Piano Violin and Piano Barenreiter
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille Saint-
Saens (1835-1921). Edited by
Fabien Guilloux and François
de Médicis. This edition:
Edition of selected works,
Urtext edition. Linen. Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of selected
works, Performance score,
anthology. Baerenreiter Verlag
#BA10304-01. Published by
Baerenreiter Verlag
$394.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Romanza Andaluza (Spanish Dance No. 3) Op. 22 No. 1 Violin and Piano G. Henle
Strings Piano Accompaniment; Violin (Violin and Piano) - l5 SKU: HL.51481346<...(+)
Strings Piano Accompaniment; Violin (Violin and Piano) - l5 SKU: HL.51481346 Violin and Piano. Edited by Peter Jost. Arranged by Ingolf Turban. Sheet Music. Paperbound. Henle Music Folios. With marked and unmarked string parts. Classical. Softcover. 16 pages. G. Henle #HN1346. Published by G. Henle (HL.51481346). ISBN 9790201813462. UPC: 888680925031. 9.25x12.0x0.066 inches. When composing his Spanish Dances (HN 1370), the composer and violin virtuoso Sarasate united existing material - folk songs and songs by well-known composers - with his own uniquely charming musical language. The two Dances op. 22, “Romanza andaluza†and “JotaNavarra,†were completed in 1878 during Sarasate's first concert tour through Scandinavia. After their initial performances, the lyrical “Romanza†soon outstripped its brilliant sister piece in popularity, and thereafter it was one of Sarasate's compositions that he played most often himself. Since then, this piece has lost nothing of its charm, and it is now available as a stand-alone edition in the Henle catalogue. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
$9.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata For V&P F-Major Violin and Piano SATB, Orchestra Fennica Gehrman
Violin and piano SKU: FG.042-08516-5 Composed by Jean Sibelius. Published...(+)
Violin and piano SKU: FG.042-08516-5 Composed by Jean Sibelius. Published by Fennica Gehrman (FG.042-08516-5). ISBN 979-0-042-08516-5. The F major sonata is the last and the most developed of all the works Sibelius wrote during his youth for his own instrument, the violin. It was completed in the summer of 1889 in Loviisa and premiered there the same year at a charity gala. During his youth Sibelius looked to the music of Grieg, which is clearly to be heard in this work - not only in the melodies or harmonies but also in the formal structure, which is more romantically oriented than that of many early works from Sibelius's youth, which are more closely tied to the classical tradition. In the andante Sibelius introduces aspects of folk music for the first time, thereby anticipating the Finnish stamp of many of his pieces from the 1890's. $32.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Romantic Pieces op. 75 Violin and Piano Schott
For Violin and Piano. Composed by Antonin Dvorak (1841-1904). Edited by Wo...(+)
For Violin and Piano.
Composed by Antonin Dvorak
(1841-1904). Edited by
Wolfgang Birtel. Arranged by
Friedemann Eichhorn. This
edition: Saddle stitching.
Sheet music. String Solo.
Dvoraks Romantic Pieces are
a welcome addition to the
violin repertoire and a very
effective alternative to
Dvorak's large-scale violin
works, the Concerto in A
minor and Romance in F
minor.For this edition
reference has been made to a
copy of the origina.
Classical. Score and part.
Op. 75. 28 pages. Schott
Music #ED 22395. Published
by Schott Music
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Julvers (Notturno II) Violin and Piano Fennica Gehrman
Violin, piano SKU: FG.55011-346-6 Composed by Kai Nieminen. Score and par...(+)
Violin, piano SKU: FG.55011-346-6 Composed by Kai Nieminen. Score and part. Fennica Gehrman #55011-346-6. Published by Fennica Gehrman (FG.55011-346-6). ISBN 9790550113466. Julvers, a poem written by Pekka Suhonen at the Villa Lante in Rome on Christmas Eve 1992, inspired Kai Nieminen to compose a piece of the same name describing the city's myriad lights as seen from the windows of the Villa high on its hill. As the trees tossed in the wind, they set countless lights twinkling here and there. These moods and reflections give the work an electric charge. Julvers was composed as a commission for the 60th anniversary of the Villa Lante. (Erkki Palola). $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concertino in D Minor, Op. 15 Violin and Piano - Easy Schott
Piano Accompaniment; Violin (Violin/Piano) - easy SKU: HL.49046262 Vio...(+)
Piano Accompaniment; Violin (Violin/Piano) - easy SKU: HL.49046262 Violin and Piano. Edited by Peter Mohrs. This edition: Saddle stitching. Sheet music. String Solo. Classical. Softcover. Op. 15. 20 pages. Schott Music #SE1042. Published by Schott Music (HL.49046262). ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French. Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-edition.com. $11.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Souvenir D'un Lieu Cher, Op. 42 Violin and Piano G. Henle
Piano Accompaniment; Violin (violin/piano) SKU: HL.51481275 Violin and...(+)
Piano Accompaniment; Violin (violin/piano) SKU: HL.51481275 Violin and Piano. Composed by Peter Ilyich Tchaikovsky. Edited by Alexander Komarov. Henle Music Folios. Classical. Softcover. 50 pages. G. Henle #HN1275. Published by G. Henle (HL.51481275). UPC: 888680991661. 9.25x12.25x0.157 inches. “Memory of a dear place†is the title given to this collection of three enchanting pieces for violin and piano. The “place†in question was the country estate of Brailov that belonged to Tchaikovsky's patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky's matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d'un lieu cher was only added after Tchaikovsky's death. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
$18.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Suite De Pièces, Op. 3 Violin and Piano Schott
SKU: HL.49046626 For Violin and Piano. Composed by Samuel Coleridg...(+)
SKU: HL.49046626 For Violin and Piano. Composed by Samuel Coleridge-Taylor. String. Softcover. 14 pages. Schott Music #ED14074. Published by Schott Music (HL.49046626). UPC: 842819114628. 9.0x12.0x0.07 inches. Samuel Coleridge-Taylor was paid three guineas for the publishing rights to his Suite de Pièces by Schott & Co. London on 24 December 1892 when the composer was just 17 years old. In the following year the work was published by Schott Music's German office in versions for both violin with piano and violin with organ. Coleridge-Taylor was born in London and brought up in Croydon. He learnt to play the violin, was recognized as a child prodigy and at 15 was awarded a scholarship to study at the Royal College of Music with Charles Villiers Stanford, where he was a contemporary of Holst and Vaughan Williams. Coleridge-Taylor described himself Anglo-African and, despite support from his colleagues, faced racism throughout his whole career. In spite of this prejudice and his tragically early death in 1912 aged just 37, he enjoyed great success during his lifetime and his music was performed at the Proms no less than 116 times between 1898 and 1939. In contrast, since 1940 his music has only been heard there on eleven occasions. Like many works, at some point in the past Suite de Pièces became out of print. Schott Music is very proud to present this new modern performing edition of the version for violin and piano. Errors and inconsistencies from the first edition have now been corrected. $14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Transfigured Life - Still Life Violin and Piano Les Editions Doberman-Yppan
Violin and piano - Advanced SKU: DY.DO-1525 Composed by David Braid. Scor...(+)
Violin and piano - Advanced SKU: DY.DO-1525 Composed by David Braid. Score and part. Les Editions Doberman-Yppan #DO 1525. Published by Les Editions Doberman-Yppan (DY.DO-1525). ISBN 9782897963057. J'aime les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.
Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.
Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.
Une note sur les performances : Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :
https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953 Envoyer des commentaires
Transfigured Life - Still Life, Op. 165 (violin & piano) - David Braid
I am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved & developed.
In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.
The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.
A note on performance: Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:
https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jean Sibelius: Humoresque No.1 Op.87 No.1 (Violin/Piano) Violin and Piano Wilhelm Hansen
Violin and Piano (Violin) SKU: HL.14030038 Composed by Jean Sibelius. Mus...(+)
Violin and Piano (Violin) SKU: HL.14030038 Composed by Jean Sibelius. Music Sales America. 20th Century. Piano Reduction. 14 pages. Edition Wilhelm Hansen #WH18202. Published by Edition Wilhelm Hansen (HL.14030038). ISBN 9788759850138. UPC: 884088517359. 8.25x11.75x0.071 inches. Work for Violin and Orchestra dating from 1917, revised in 1939. Here reduced for Violin and Piano. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Maria Theresia Von
Paradis: Sicilienne:
Violin: Instrumental Work Violin and Piano Schott
Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria The...(+)
Published in 1924 as 'revised and edited' by violinist Samuel Dushkin Maria Theresia Von Paradis' Sicilienne is the most famous of her works. Dushkin later claimed that he had discovered this piece as a keyboard work and had recast it for violin and piano but it is fairly certain that the piece was in fact composed by Dushkin. However the doubtful parentage of the piece had never dampened its popularity and it is still widely used today. Arranged for Violin or Cello with Piano accompaniment.
7.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Vision Flamboyante
(BRENET THERESE)
Français Violin and Piano [Sheet music] Lemoine, Henry
Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire ...(+)
Par BRENET THERESE. / contemporain / Date parution : 2002-03-22/ Répertoire / Violon et Piano
19.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Bach J.s. - Concerto In
G Minor Bwv 1056 - Violon
and Piano Violin and Piano Barenreiter
Bach, Johann Sebastian Concerto for Violin, Strings and Basso Continuo G minor R...(+)
Bach, Johann Sebastian Concerto for Violin, Strings and Basso Continuo G minor Reconstructed from BWV 1056 - Reconstructed from the Urtext of the ?New Bach Edition? - Meticulous analysis and evaluation of the sources - Interpretative leeway for keyboard players This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach?s arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion.
14.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Alla madre (HEINIO MIKKO)
(HEINIO MIKKO) Violin and Piano Fennica Gehrman
Par HEINIO MIKKO. Mikko Heiniö's Alla madre (2007) abandons the traditional vir...(+)
Par HEINIO MIKKO. Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, ?Arrival?: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the second movement, entitled Aura, ?Air or Wind?, does the initiative pass to the solo violin as it sets light to notes in the orchestra harmony like individual lamps. And not until the end of the second movement and the beginning of the third does the solo violin play completely on its own. The title of the first movement, ?Arrival?, underlines the event, the dramaturgy, whereas that of the second movement, ?Aura?, alludes to the texture and the shimmering space. The third movement is the most strongly emotional, as the name Carezza, ?Caress? suggests. This product includes the solo part and the piano reduction (B4 sized). The orchestral material is available from the publisher. The orchestration: 3(III picc)3(III ca)3(III=bcl)3(III=cfg)-4331-13-hp-str / Date parution : 2023-01-24/ Répertoire / Violon et Piano
53.48 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Concerto For Violin,
Strings And Basso
Continuo G Minor (BACH
JOHANN SEBASTIAN) Violin and Piano [Sheet music] Barenreiter
Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in ...(+)
Reconstructed from BWV 1056. Par BACH JOHANN SEBASTIAN. This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach's arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056). The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord. The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion./ Répertoire / Violon et Piano
16.18 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Lennox Berkeley: Five
Pieces Op.56: Violin:
Instrumental Work Violin and Piano [Sheet music] - Intermediate/advanced Chester
Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and co...(+)
Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer gave the first performanceon 31 July 1962 at the Royal Albert Hall London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately while at the same time the whole set of fiveconstitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone and its inversion plays an important part in every piece. Thus the first piece which is of a slow and meditativecharacter begins with this theme in the bass. It is also heard in the first entry of the solo part and thereafter every episode is in some way derived from it. The next piece a vigorous and strongly marked ‘allegro’ uses thesemitone of the original figure as its starting point. A second theme appears first on the horns and is later taken up by the solo violin while a third section has the initial idea as its accompaniment. Next comes an extendedscherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the firstsection violas and cellos are divided in the middle section and all the strings are used in the last which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others concernedmainly with giving the soloist material for display but not unconnected with what has gone before.
15.99 GBP - Sold by Musicroom UK | |
| Corelli A. - Sonaten
Vol. 1 - Violon Et Piano Violin and Piano Wiener Urtext
These sonatas are among the epoch-making works of the violin repertoire and nowa...(+)
These sonatas are among the epoch-making works of the violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising, therefore, that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli’s time, however, more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation, with embellishment and variations as desired. The original score is therefore presented here with the earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated, but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume, the variations as desired used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation, but also to articulation, bowings and more besides, calling for specific markings in the separate violin part. The realisation of the continuo part echoes the fashions of that time. Here too, advice on performance is meant to stimulate free interpretation by the continuo player. A figured bass part is included for the player who prefers to read the accompaniment from figures. Content : Sonate D-Dur op. 5,1 Sonate B-Dur op. 5,2 Sonate C-Dur op. 5,3 Sonate F-Dur op. 5,4 Sonate g-Moll op. 5,5 Sonate A-Dur op. 5,6
31.90 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violin and Piano Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...(+)
for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
12.50 GBP - Sold by Musicroom UK | |
| RAVEL MAURICE - SONATE /
BERCEUSE SUR LE NOM DE
GABRIEL FAURE - VIOLON
and PIANO
Français Violin and Piano Barenreiter
Ravel, Maurice Sonata / Berceuse sur le nom de Fauré for Violin and Piano<...(+)
Ravel, Maurice Sonata / Berceuse sur le nom de Fauré for Violin and Piano - New scholarly-critical edition of Ravel?s famous sonata - First scholarly-critical edition of the ?Berceuse sur le nom de Fauré? - Foreword on the historical context and performance practice issues (Eng/Ger) as well as a Critical Commentary (Eng) Ravel worked on his Sonata for Violin and Piano for four years (1923?1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the ?fundamental incompatibility? of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a ?perpetuum mobile? finale. This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the ?Berceuse sur le nom de Fauré? which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Fauré?s name. / Partitions classique / Cordes / Violon / BARENREITER
28.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Paul de Keyser: The Young
Violinist's Repertoire 2:
Violin: Instrumental
Album Violin and Piano [Sheet music] - Easy Faber Music Limited
for Violin and Piano-The Young Violinist's Repertoire Book 2 continues the groun...(+)
for Violin and Piano-The Young Violinist's Repertoire Book 2 continues the groundwork started in the first book and provides even more material from the vast literature for violin. Arranged progressively it takes the young player from the earliest stages up to an intermediate standard. There is technically and musically something here for every type of pupil.In this series of four books music is brought together from all over Europe and from all periods. Altogether they provide an invaluable source of material and make up an attractive library of simple classics for the learner violinist. These pieces are all for Violin with Piano accompaniment.The soloViolin part is also included on a separate insert.
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| Ole Bull: La Melancolie:
Violin: Instrumental Work Violin and Piano [Sheet music] Wilhelm Hansen
La Melancolie is a famous melody first written by Ole Bull in 1850. It is often...(+)
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.
5.99 GBP - Sold by Musicroom UK | |
| Jones: Viennese Fiddler:
Violin: Instrumental
Album Violin and Piano [Score and Parts] Boosey and Hawkes
Viennese music has become almost synonymous with Johann Strauss II and his great...(+)
Viennese music has become almost synonymous with Johann Strauss II and his great waltzes. But of course there were other luminaries: his father Johann Strauss I his talented brothers Josef and Eduard as well as their colleagues friends and rivals. This collection includes music by some of these; and apart from waltzes we have polkas (slow and fast) a couple of melodies from operettas and a march. The selection ranges from shorter eminently playable miniatures to a handful of more extended and challenging arrangements. The waltz kings were first and foremost fiddlers. They led their orchestras from the front instrument and bow in hand. As a young man JohannStrauss II used to practise his Violin in a full-length mirror so he would look every inch the part. They knew how to write for the Violin how to make it sing and dance and this helps to make the repertoire a perfect foil to the other volumes in this series. The arrangements in this collection can be performed as solos duets or trios or by larger ensembles. In fact here are all the resources to recreate a Viennese café orchestra! The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections you can create your own ceilidh barn dance jazz club Sarajevo street-café or Gypsy gathering. Some of this music is familiar some more exotic but all of it is absolutely authentic faithfully arranged and above all hugely enjoyable. Each title in the series is available in two formats: the Violin edition (with an optional easy Violin part and Guitar chords); or the complete edition which also includes both Keyboard and Violin accompaniments. Either format is hugely flexible which means the music can be played as solos duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style giving his own suggestions for a lively performance. And to help recreate the spirit of the music every book in the series is beautifully illustrated.
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| Alexandra Wood: Spectrum
for Violin + CD: Violin:
Instrumental Album Violin and Piano [Sheet music + CD] ABRSM Publishing
16 contemporary pieces for violin-Spectrum For Violin is an exciting introductio...(+)
16 contemporary pieces for violin-Spectrum For Violin is an exciting introduction to the music of today for all violinists. The 16 pieces included have been specially commissioned from some of today's leading composers and reflect current compositional trends. With at least one piece at each of Grades 1 to 8 there's something here for players of all ages and abilities.Included is a a recording of the 16 pieces performed by violinist Alexandra Wood - compiler of this volume - and pianist Thalia Myers. The CD also contains recorded accompaniments for the two works composed for Violin and soundtrack.With pull-out Piano accompaniment part.
23.50 GBP - Sold by Musicroom UK | |
| Antonio Vivaldi: Concerto
For Violin In G Op.3/3:
Violin: Instrumental Work Violin and Piano Barenreiter
Vivaldi achieved popularity throughout Europe with his collection “L&rsquo...(+)
Vivaldi achieved popularity throughout Europe with his collection “L’estro armonico” Op.3. He wrote the cycle which consists of twelve violin concertos (including Concerto Op.3 No.3 featured here) for the orchestra of the “Ospedale della Pietà” where he was teacher and director for many years.The two fast outer movements from opus 3/3 feature ritornelli combined with more virtuosic solo sections as was prevalent at the time. This ritornello form gives structure to the movements. It also gives the student who plays both the solo and tutti sections in this edition the opportunity to vary the returning motives interms of dynamics and ornamentation. In the short but expressive Largo distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practise various bowing techniques.
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| First Repertoire for
Violin: Violin:
Instrumental Album Violin and Piano [Sheet music] - Intermediate Faber Music Limited
Mary Cohen's First Repertoire For Violin is a collection of fifteen imaginative ...(+)
Mary Cohen's First Repertoire For Violin is a collection of fifteen imaginative and idiomatic arrangements and original pieces all carefully selected and written for the Grade 2-4 player. From Handel to Elgar The Pink Panther to Puttin' On The Ritz with polkas barn dances and tangos - there is something here for every occasion.
10.99 GBP - Sold by Musicroom UK | |
| 37 Violin Pieces You Like
to Play: Violin:
Instrumental Album Violin and Piano - Intermediate/advanced Schirmer
Thirty-seven violin pieces with piano accompaniment mainly from the Classical a...(+)
Thirty-seven violin pieces with piano accompaniment mainly from the Classical and Romantic eras. There's loads of music here making it a great book for the intermediate/advanced player to work through.
23.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Johann Pachelbel: Canon
D: Violin: Instrumental
Work Violin and Piano Peters
While Pachelbel has been most admired as a composer of organ works and Lutheran ...(+)
While Pachelbel has been most admired as a composer of organ works and Lutheran church music his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The first of these is of course the canon a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as for example Frère Jacques) is a type of canon. The second device involves a short bass line (refeered to as a ground bass) that is repeated constandly over which the composer writes continuous variations. In its original form the work consists of an initial statement of an eight note ground bass followed by27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts an appropriate harmonic background would have been improvised on harpsichord lute or organ. In the present arrangement Pachelbel's note values have been doubled for greater ease of reading and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at an intermediate level. Since dynamics bowing indications articulations and slurs were not customarily provided by composer of the Baroque era the arranger and the editor have added them here as well as a metronome indication and a few cadential trills. Obviously these editorial additions should be regarded only as suggestions.
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| Trockne Blumen Op.160
(SCHUBERT FRANZ) Violin and Piano [Score and Parts] Universal Edition
Introduktion und Variationen D802. Par SCHUBERT FRANZ. Originally for flute and ...(+)
Introduktion und Variationen D802. Par SCHUBERT FRANZ. Originally for flute and piano, Schubert's reworking of 'Trockne Blumen' - the eighteenth song in his song cycle Die schöne Müllerin - is here adapted for the violin. It was quite common in Schubert's own time for composers to write works 'for flute or violin' and in keeping with this practice, violinist Jacqueline Ross has prepared this edition, along with notes on the musical background and critical commentary on the violin editing. Her research into 18th and early 19th century performance practice has been widely recognised and has influenced her recordings of baroque and classical repertoire. This includes the Naxos release of the complete works of Schubert, recorded on historical instruments, in which this adaptation of 'Trockne Blumen' is featured. Violinists will welcome this adaptation intended primarily for performers, as a vibrant and substantial addition to the repertoire.
o Originally for flute and piano, Schubert's reworking of 'Trockne Blumen', the eighteenth song in his song cycle 'Die schöne Müllerin', is here adapted for the violin by Jacqueline Ross o Notes on the musical background and critical commentary on the violin editing are included o A vibrant and substantial addition to the repertoire/ Répertoire / Violon et Piano
21.04 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ludwig van Beethoven:
Violin Concerto In D Op.
61 - Kremer Edition:
Violin: Violin and Piano G. Henle
2 volumes in a slipcase with marked and unmarked string part with orchestra part...(+)
2 volumes in a slipcase with marked and unmarked string part with orchestra parts-On the occasion of the 70th birthday of Gidon Kremer violinist extraordinaire G. Henle Publishers is issuing a special edition of Beethoven?s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326) and the ?Kremer part?. The latter includes fingerings and bowings by Gidon Kremer. The musical text isfollowed by an essay by Kremer about recordings of the Beethoven Concerto bearing the attractive title: ?Searching for Ludwig?. And this is not all: the first-movement cadenza by the composer Victor Kissine which Kremer hasalready played numerous times is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza including thescore and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations Maestro Kremer!
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| Sonata in D minor for
Violin and Piano op. 108:
Violin: Instrumental Work Violin and Piano Barenreiter
Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The wo...(+)
Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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| Johannes Brahms: Sonata
in A major for Violin and
Piano op. 100: Violin: Violin and Piano Barenreiter
Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The wo...(+)
Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.
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| Johannes Brahms: Sonatas
In F Minor And E-Flat For
Violin: Violin:
Instrumental Violin and Piano Barenreiter
for Violin and Piano-Brahms had already announced his ?retirement? from composit...(+)
for Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. 120 back into players? hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and
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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...(+)
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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| Frank Bridge: Three
Pieces: Violin:
Instrumental Album Violin and Piano - Intermediate Faber Music Limited
These three pieces were written seperately between 1901 and 1910 for cello and p...(+)
These three pieces were written seperately between 1901 and 1910 for cello and piano but are arranged here for Violin and Piano. Three of Frank Bridge's more popular and familiar works from his early days of composition are included here and although masterful and beautiful are rather conservative in the use of traditional techniques.
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| Souvenir D'Un Lieu
Cher (Violin And Piano)
(TCHAIKOVSKI PIOTR
ILITCH) Violin and Piano [Sheet music] Faber Music Limited
Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place)...(+)
Par TCHAIKOVSKI PIOTR ILITCH. Souvenir d'un Lieu Cher (Memories of a Dear Place) is a collection of three pieces for violin and piano. The first - Méditation - was written in Clarens in Switzerland in March 1878. Tchaikovsky originally intended it to be the slow movement of his violin concerto, but later replaced it with the more substantial Canzonetta and recast it for violin and piano. The other two movements were composed in May of the same year on the estate of his benefactress, Nadeja von Meck at Brailovo in Ukraine which is the 'dear place' of the title. It was published in in May 1879. The work is very characteristic of Tchaikovsky's style. It is built on beautiful melodies, with a Russian folk inflection, and contains a variety of contrasting sections. The outer movements are written in a gentle lyrical style, whereas the scherzo is fast and furious creating a mood of stormy anger. The trio section is based on a simple melody with a tinge of sadness about it. The solo part exemplifies Tchaikovsky's mastery of violin writing, using as it does a wide range of timbres and effects.
/ Répertoire / Violon et Piano
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