Par COLERIDGE-TAYLOR SAMUEL. The period of composition (ca. 1893) for the Suite de Pièces for violin and piano or violin and organ was especially productive for Samuel Coleridge-Taylor (1875-1912) in the realm of chamber music. Unpublished works include a piano quintet, clarinet sonata, nonet, piano trio, and a piano sonata. It is notable that the different versions of the Suite for piano and organ are so contrasting. Typically, pieces in this genre that exist in versions for piano and organ have little that separate them in terms of musical content. However, Coleridge-Taylor not only approaches each keyboard instrument quite differently but conceived the violin part with notable melodic differences. This can be considered exceptional as they were both issued by the same publisher within a close timeframe. Coleridge-Taylor would have been very familiar with the organ from his early church experience as a boy in addition to studies at the Royal College of Music with Walter Alcock. His writing is consistently idiomatic for the instrument. The few registrational directions in the first edition, assuming they are by Coleridge-Taylor, demonstrate an understanding of the need to balance the organ part with the violin part so that the organ is not too loud. Rather than numbering the manuals I and II, with II being the quieter manual, the score indicates Swell and Choir but there is no requirement for the Great to be used. There are also extended sections where no manual indication is given at all. Whether the registration markings were made by Coleridge-Taylor or an editor at Schott is unclear but the indication for a Choir manual suggests not so much the need for an organ of three manuals but an instrument with a range of foundational colours for writing that is often accompanimental in nature. / Date parution : 2023-06-01/ Répertoire / Violon et Orgue

Le Cantique des Cantiques, adressé à Sulamith et attribué à Salomon, est un des textes les plus mystérieux de la Bible. Si le personnage de Salomon est énigmatique, celui de la 'fiancée' l'est plus encore. Saint Augustin et de nombreux autres exégètes on / Violoncelle Et Orgue / 32 pages / niveau : Intermédiaire à Avancé / Partition

For Violoncello et Pianoforte. Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces. Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo. Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumes Also includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and piano Informative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pages Special price for both volumes I and II (BA9098)/ Répertoire / Violoncelle et Piano

Par REGER MAX. Editeur(s) d'origine: Ludwig, Klaus Uwe/ Répertoire / Violon et Orgue

Par VERES ZOLTAN. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Arguments de Veres Zoltàn qui a été composé pour Violon / Niveau : Fin de 2ème Cycle / Répertoire / Violon et Orgue

La référence GB4017 de l'éditeur Billaudot dont l'auteur célèbre est Ancelin Pierre, qui a pour titre DONA NOBIS PACEM, a été écrite et composée pour Violon et plus particulièrement pour Violon Et Orgue. Cette partition musicale appartient à la catégorie Classique. / Violon Et Orgue / Partition

 Edition réalisée sous la direction de Yannik Merlin Pour cette formation si rarement représentée, Monnikendam offre une pépite d'inventivité et d'expressivité, Malgré une mélodie empreinte de chromatismes, le violon développe une mélodie lyrique, L'orgue lui répond, particulièrement dans la partie médiane qui offre quelques variations sur un 2o thème présenté par le pédalier solo, En contrepoint, le violoniste fait preuve d'une virtuosité croissante, jusqu'à un apaisement qui progresse vers l'ambiance de départ, pour s'achever sur des accords lumineux, Collection Musique et Patrimoine / Violon Et Orgue