Six sonatas for solo violin accompanied by the harpsichord. Frankfurt, (undated = 1715)

SKU: BT.EMBZ12309

English-German-Hungari an.

The present edition contains 6 of the 15 solo sonatas with continuo accompaniment, Op. 1 by Handel which are known today as violin sonatas.

Die vorliegende Ausgabe beinhaltet jene 6 Stücke aus den unter Op. 1 erschienenen 15 Solosonaten mit Continuobegleitung von Händel, die in der modernen Praxis als Violinsonaten bekannt sind.

SKU: UT.HS-281

ISBN 9790215326385. 9 x 12 inches.

Sonata I (Les Fêtes de Flore); Sonata II (Les Champs Elisées); Sonata III (Le Jardin des Hesperides); Sonata IV (Les Amusemens d’Apollon chez Le Roi Admète); Sonata V (Les Jeux Olympiques); Sonata VI (Les Voyages d’Ulysse)
< br>Published in 1742 by the author with Boivin, Le Clerc and de Bretonne, Corrette’s Op. 25 was committed to the Knight of Orleans. It contains six sonatas with violin accompaniment. Nevertheless, on the frontispiece, Corrette reminds the possibility to perform these sonatas also for solo harpsichord; violin accompaniment is therefore considered as collateral and not crucial even though two instruments complete each other and continuously dialogue in a charming way. The composer declares the effect he requires to obtain at the beginning of sonata punctuating that the violin must play mezzo piano way and giving, once again, a great relevance to the keyboard. Despite the notices, imitations and plots between the instruments are so pleasant and constant that it is very improbable to imagine that violin role has considered as unsubstantial.
In the fourth sonata, the only one written in minor tonality, Corrette supposes flute accompaniment as alternative to the violin. In this case, Italian style is evident, for example, in the third movement where the composer imitates Vivaldi with frequent unison passages.
On technical plan, the harpsichordist is occupied in recurring hands crossing, playing suddenly overall keyboard.

SKU: FH.VLR03

ISBN 9781554409044.

C arefully selected and curated to support teachers and students in their artistic and technical development, the Violi n Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire. Each level is constructed to link repertoire selections to necessary techniques and corresponding etudes, while illustrating step-by-step connections for developing core skills. Each Reper toire book includes access to quality video and audio recordings by some of North America's finest violinists and accompanists; both performance and accompaniment-only tracks for each Reper toire selection offer students a model for performance practice and the convenience of accompanied rehearsal at home.

Violi n Repertoire 3 provides exciting and varied repertoire with entry-level concertos, sonatas, fiddle tunes, and dance styles (polkas, waltzes, and polonaises). Pieces by composers such as Johann Sebastian Bach, Natalya Baklanova, Antonin Dvorak, Edvard Grieg, Ferdinand Kuchler, Wolfgang Amadeus Mozart, Jean-Philippe Rameau, and Georg Philipp Telemann are experienced in both solo and duet form. Level 3 students continue to expand their hand-frame knowledge with the inclusion of new flat keys, while gaining comfort in the second position. Rhythmic challenges are introduced through a variety of meters and syncopation. Articulations such as brush stroke are introduced.

SKU: HL.49019054

ISBN 9790001147828.

On 11 August 2011 it is fifty years since the death of the composer Johanna Senfter from Oppenheim who actually was a trained violinist for she had studied with renowned violinists at the Hoch Conservatory in Frankfurt. No wonder that she dealt with the solo violin repertoire her whole life long. Concert works with orchestral accompaniment as well as chamber music works were the results of her compositional endeavours, and she attended to both the large and the small form. Apart from sonatas deeply rooted in the Romantic tradition, Johanna Senfter also wrote '5 Stucke' Op. 100 for violin with piano accompaniment. They are five miniatures which combine to form a kind of sonatina, while nevertheless being quite equal to its big sister, the sonata, as regards playing and compositional technique. A musically demanding, yet rewarding work by the Reger pupil.

SKU: UT.MAG-268

ISBN 9790215326798. 9 x 12 inches.

The study of Johann Sebastian Bach’s compositions on the harp has a long history. The first who understood its importance for educational purposes was Robert Nicolas Charles Bochsa, who inserted some fugues of Bach and Haendel in his monumental method for the harp op. 60, accompanied by detailed fingerings. However, it was from the beginning of the 20th Century that the great harp teachers began to work extensively on Bach’s repertoire. Among the most illustrious examples we can mention Henriette Renié, who published two volumes of transcriptions, one containing ten preludes and one ten short pieces, Alfred Kastner who worked on the Two–part Inventions, Marcel Grandjany with his famous studies based on partitas and sonatas for solo violin, or Annie Louis David, who published two important volumes of preludes and fugues taken from The Well-Tempered Clavier, not to mention all those who transcribed just a single piece for concert purpose.
As is known, the Notebook for Anna Magdalena (Notenbüchlein für Anna Magdalena Bach), consists of two small manuscript volumes, the first compiled in Köthen in 1722 and the second in Leipzig three years later. The first contains only compositions by Johann Sebastian, while the second also includes pieces by other authors such as Couperin, Hasse and Carl Philipp Emanuel Bach.
The idea of ​​collectin g in a volume some of the simplest compositions contained in the Notebook was born mainly from the desire to introduce even the youngest students to Bach’s music, in an easy and progressive way, so as to start as soon as possible at make them familiar with polyphonic writing and the use of embellishments, introduced here in a simplified version.