Violin Concerto #1 In A Minor, Op.3 #6. Par VIVALDI ANTONIO. Standard violon étudiant répertoire - magistralement enseigné par Zakhar Bron. Le tournage d\'une classe de maître dans la salle blanche du palais Sheremetjev à Saint-Pétersbourg. DVD avec la partie de violon Solo, préparé et annoté par Zakhar Bron. Zakhar Bron est un violoniste exceptionnelle et enseignant de renommée mondiale qui a reçu de nombreux prix et professeurs, plusieurs de ses étudiants, tels que Vadim Repin, Maxim Vengerov, Erik Schumann et Mayuko Kamino, appartiennent à l\'élite mondiale des solistes de violon. / Niveau : Intermédiaire / Classic - Methods / Méthode / Violon

Gitarre-Continuo Von Walter Haberl. Par VIVALDI ANTONIO. Vc Git / Niveau : Assez Facile / Répertoire / Guitare et Musique de Chambre

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue

Opere incomplete Ed. critica e ricostruzione di M. Talbot-Critical edition by Michael Talbot. The vast majority of violin sonatas from Vivaldi?s time including those of Vivaldi himself have come down to us in the form of a score employing two staves: one for violin and one for bass. This guarantees that although portions of the work may be missing what survives is textually complete. Exceptionally five of Vivaldi?s violin sonatas are preserved solely in a partbook for violin held by the Diözesanarchiv Graz the complementary part for cello having disappeared. The sonatas appear to date from the period between the Dresden group (1716-1717) and the Manchester set (c. 1726). Three of the sonatas which all have four movements possess partial concordances in other sources with which they share two or three movements but two of them ? RV 11 and RV 37 ? have so far been found only in Graz (with the exception of an incipit for RV 11 found in a contemporary thematic catalogue). This critical edition makes these two works available for study and performance. The bass part is an editorial reconstruction and there is in addition a realization of the continuo by the editor.

Le Quattro Stagioni - Die Vier Jahreszeiten-Piano reduction with solo Violin part for all 4 concertos.One of the best-loved and most endearing works of the late Baroque Vivaldi's set of Violin Concertos The Four Seasons Op.8 are presented here in an authoritative Barenreiter Urtext edition.This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source which originates from Vivaldi’s circle and represents an alternative (in many cases more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725.The Manchester source hasuntil now not been used as the primary basis for a modern performing edition and offers new readings and evidence for players and listeners alike.With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons.

Recomposed By Max Richter-First performed at London’s Barbican Centre in 2012 Max Richter’s re-imagining of Vivaldi’s famous work has been widely acclaimed. The associated album Recomposed by Max Richter: Vivaldi The FourSeasons topped the iTunes classical chart in the UK Germany and the US.This newly-arranged Piano accompaniment (88pp full score) and Violin solo (34pp part insert) are complemented by a digital download of aspecially-commissioned performance of the music that has been endorsed by the composer himself. The download contains full demonstrations of the pieces as well as Piano-only accompaniment tracks making the whole package anextraordinary publishing event worthy of a unique work.

Arrgt: Sarah Labrousse-Baert. Par VIVALDI ANTONIO. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 05 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Antonio VIVALDI - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire / Classique / Répertoire / 2 Violons, Alto et Violoncelle

Arrgt: Sarah Labrousse-Baert. Par VIVALDI ANTONIO. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 4 mn 50 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Antonio VIVALDI - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 2 Violons, Alto et Violoncelle

Par VIVALDI ANTONIO. Antonio Vivaldi 's Concerto In G Minor RV 105 edited by Robert Paul Block and David Lasocki. Score and parts./ Répertoire / Flûte Traversière, Hautbois, Violon, Basson et Bas

2Vl Bc. Par VIVALDI ANTONIO. Den Solo-Violinsonaten Op. 5 von Vivaldi sind zwei Triosonaten beigegeben. Während die drei Sätze der B-Dur-Sonata die beiden Canti gIeichberechtigt führen und in ihrer polyphonen Grundhaltung, mit Echostellen (Corrente!) und hochbarockem Pathos ... / Niveau : 2 - 3/1 - 2/1 - 2/2 - 3 / Répertoire / Musique de Chambre

Arrgt: Sarah Labrousse-Baert. Par VIVALDI ANTONIO. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 4 mn 50 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Antonio VIVALDI - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 2 Violons, Alto et Violoncelle

Par VIVALDI ANTONIO. Vivaldi's Concerto In G Op. 3 No. 3 RV310 for Violin and Piano. / Urtext / Répertoire / Violon et Piano