1ère Polonaise Brillante Op. 4

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.

Ce fac-similé offre trois partitions de musique de chambre de qualité. Les formations sont intéressantes et originales, particulièrement celle de la sonate en quatuor pour piano, flûte, cor et alto. Les trios pour trois flûtes sont agréables et parfois de niveau technique assez élevé. - Présentation par les étudiants du CeFEdeM-Île-de-France (Claire Marzullo, Elisabeth Walch et Fettouma Ziouani) : Biographie sommaire de Devienne - catalogue résumé des oeuvres de Devienne - Devienne au Concert Spirituel - la notation de Devienne - - / Quatuor, (Pour Clavecin Ou Pianoforte, Flûte, Cor Ou Violoncelle, Alto), 2 Flûtes Traversières Et Basse Continue, 3 Flûtes Traversièress / 115 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Music from the Academy Award and BAFTA winning film The Pianist directed by Roman Polanski including ten solo Piano works by Chopin some of which have been arranged by Jerry Lanning. The film was adapted from thememoir of Jewish-Polish musician Wladyslaw Szpilman whose world collapsed at the outbreak of World War II in 1939 and portrays his struggles and encounters throughout the war.A superb selection of Chopin???s most beautifuland haunting pieces for piano as featured in this epic feature film.The pieces presented in this edition are not are not necessarily in full but will provide an enjoyable challenge to the advancing pianist nevertheless.

The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

Avec cette collection de 30 compositions originales populaires et d'arrangements pour piano, Schott présente une sélection des ?uvres de Frédéric Chopin qui ravira tous les pianistes. Outre le Prélude de la goutte d'eau et des pièces d'enseignement populaires, le volume contient également des arrangements des deux célèbres concertos pour piano en mi mineur et en fa mineur, de la Krakowiak et bien d'autres. Tous les morceaux sont de difficulté moyenne et ont été complétés par des doigtés ainsi que des suggestions de métronome. Ce recueil, imprimé dans un style moderne et agréable à lire, est recommandé non seulement pour l'enseignement, mais aussi pour tous ceux qui jouent du piano en tant que hobby.Polonaise g-Moll BI 1Polonaise B-Dur BI 3Polonaise As-Dur BI 5Prelude e-Moll op. 28/4Prelude h-Moll op. 28/6Prelude Des-Dur op. 28/15Prelude A-Dur op. 28/7Walzer a-Moll op. 34/2Walzer a-Moll BI 150Walzer Des-Dur op. 64/1Walzer h-Moll op. 69/2Mazurka fis-Moll op. 6/1Mazurka B-Dur op. 7/1Mazurka a-Moll op. 7/2Mazurka F-Dur op. 68/3Nocturne B-Moll op. 9/1Nocturne Es-Dur op. 9/2Nocturne cis-Moll BI 49Trauermarsch aus der Sonate b-Moll op. 35Etüde E-Dur op. 10/3Etüde f-Moll op. 25/2Fantasie-Impromptu cis-Moll op. posth. 66Klavierkonzert Nr. 1 e-Moll op. 11Klavierkonzert Nr. 2 f-Moll op. 21Krakowiak F-Dur op. 14Introduktion und Polonaise brillante C-Dur op. 3Andante spianato et Grande Polonaise Es-Dur op. 224. Satz aus Klaviertrio g-Moll op. 83. Satz aus Sonate für Violoncello und Klavier g-Moll op. 65Der Wunsch op. 74/1Der Frühling op. 74/2Melancholie op. 74/13 / Piano / Schott

The present collection contains some of the most brilliant and beautiful compositions for violin and piano by Henryk Wieniawski. It consist of the following works: ''Kujawiak a-moll'', ''Polonaise brillante D-dur'', ''Souvenir de Moscou'' as well as three caprices: ''Prélude'' from Op. 18, ''La Vélocité'' from Op. 10 and ''Le Chant du Bivouac'' from Op. 10.

This collection contains 46 pieces: Ballade No. 1 in G Minor, Berceuse, 3 ecossaises, 5 etudes, Fantaisie-Impromptu, Marche Funèbre from Sonata No. 2, 8 mazurkas, 7 nocturnes, 3 polonaises (including the enormously popular Militaire), 9 preludes, Scherzo No. 2 in B-flat Minor, and 6 waltzes (including the Minute Waltz). Content : Ballade No. 1 in G Minor, Op. 23 Berceuse in D-flat Major, Op. 57 Three Ecossaises, Op. 72, No. 3 1. D Major 2. G Major 3. D-flat Major Five Etudes C Minor, Op. 10, No. 12 (Revolutionary) E Major, Op. 10, No. 3 G-flat Major, Op. 10, No. 5 (Black Key) G-flat Major, Op. 25, No. 9 (Butterfly) A-flat Major, Op. 25, No. 1 (Harp) Fantasie-Impromptu in C-sharp Minor, Op. 66 Eight Mazurkas B-flat Major, Op. 7, No. 1 A Minor, Op. 7, No. 2 A Minor, Op. 17, No. 4 B Minor, Op. 33, No. 4 G Minor, Op. 67, No. 2 C Major, Op. 67, No. 3 A Minor, Op. 68, No. 2 F Major, Op. 68, No. 3 Marche Funèbre from Sonata No. 2 in B-flat Minor, Op. 35 Seven Nocturnes B-flat Minor, Op. 9, No. 1 E-flat Major, Op. 9, No. 2 D-flat Major, Op. 27, No. 2 G Minor, Op. 37, No. 1 C Minor, Op. 48, No. 1 F Minor, Op. 55, No. 1 E Minor, Op. 72, No. 1 Three Polonaises A Major, Op. 40, No. 1 (Militaire) F-sharp Minor, Op. 44 A-flat Major, Op. 53 (Heroic) Nine Preludes, Op. 28 No. 1 in C Major No. 2 in A Minor No. 4 in E Minor No. 6 in B Minor No. 7 in A Major No. 15 in D-flat Major No. 20 in C Minor No. 22 in G Minor No. 24 in D Minor Scherzo No. 2 in B-flat Minor, Op. 31 Six Waltzes E-flat Major, Op. 18 (Grande Valse brillante) A Minor, Op. 34, No. 2 (Grande Valse brillante) D-flat Major, Op. 64, No. 1 (Minute Waltz) C-sharp Minor, Op. 64, No. 2 A-flat Major, Op. 69, No. 1 E Minor, Op. Posthumous