Violin Sonata

Violin Sonata in G major-Inspired by Béla Bartók’s Violin sonatas Ravel planned his own sonata for Violin and Piano in 1922 but at first did not get beyond sketches. Many interruptions ensued and the work was onlyfinished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata’s sparse thinned out compositional structure and instrumentation Ravel later emphasized thatthe sonata proved the tonal incompatibility of the Violin and Piano. Yet it still succeeded in winning a permanent place in Violin repertoire – not least because of its middle movement inspired by jazz elements and the“blues”. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé.

Violin Sonatas Volume II-Volume II of Ludwig van Beethoven’s Sonatas for Piano and Violin includes Violin sonatas No. 6-10 - Beethoven wrote 10 sonatas for Violin and Piano in total (No. 1-5 can be found inVolume I of this edition). Out of these 5 sonatas Violin Sonata No. 9 (commonly known as the ‘Kreutzer Sonata’) is the most widely known because of its demanding Violin part unusual length of slightlyless than 40 minutes (with the other four averaging at ca. 23 minutes) and emotional scope - while the first movement is predominantly furious the second is meditative and the third joyous and exuberant. This Urtextedition provides you with a clear and accurate representation of the composer's original intentions. Two copies of the Violin score are included as separate inserts as well as a preface in German English and French.

George Antheil's Violin Sonata No.1 as edited by Ron Erickson. George Antheil composed his Violin Sonata No. 1 in Paris in 1923 as one of two written for Violinist Olga Rudge.

Sonata no.2 in d minor op.121 for Violin and Piano-Schumann?s second violin sonata was written in October/November 1851 only a few weeks after the first work for this combination of instruments (HN 428). The highly virtuosic sonata especially in the finale is characterised bythe close thematic dovetailing of the single movements. Wilhelm Joseph von Wasielewski who later became the composer?s biographer reported that ?smiling in his kind-hearted manner? the composer had said to him: ?I did not likethe first violin sonata; so I then wrote a second one which is hopefully better.? Schumann was apparently referring to the great differences in the expressive content: Whereas the first sonata with three movements seems rathermelancholy and dark overall the second ?Great Sonata? with four movements is bursting with energy and ends in vibrant D major.

Violin Sonata no. 2 e minor op. 108-Fauré?s 2nd Violin Sonata was written in 1916 in Evian and Paris the first in a series of chamber music works. It is thus one of Faure?s late works characterised by austerity introspectionand the intensity of its expression.It is hard to imagine a greater contrast to the brilliant and ornamental style of the virtuosic 1st Violin Sonata (HN 980) published 40 years earlier. The 2nd Sonata concentrates on theessentials and on closer contact turns out to be a fascinating composition that harmonically explores the limits of tonality delving deep into the ?Modernism? of the 1920s.

Violin Sonata was commissioned by the Carnegie Hall in New York as part of its centennial celebrations in 1991 and first performed on 3rd February of that year by Michelle Makarski and Brent McMunn. It is arelatively diffident three movement work exploring heavy tortuous sentiments without becoming overpowering. The Piano part sets up a series of repeating ostinati with some interesting jazz influences and chord progressions which the Violin part cleverly plays against. Anthony Davis (b. 1951) is an American composer and pianist. His recordings and compositions cover both jazz and modern classical styles but he is best known for hismodern political operas such as X based on the life of Malcolm X.

Shostakovich's wonderful Violin Sonata from Opus number 134 arranged for Violin with Piano Accompaniment.

Johannes Brahms an uncompromising perfectionist was one of the leading composers of his time. His popularity and influence were considerable and his music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. Johannes Brahms: Violin Sonatas (Complete) contains expertly arranged sheet music for Violin and Piano. Including Violin Sonatas Op.78 100 and 108.

Another tremendous compilation of fabulous Violin Sonatas from the Eighteenth Century. Featuring three works by Francesco Geminiani Antonio Vivaldi and Richard Jones set for Violin and Keyboard instrument accompaniment. Ideal for intermediate level repertoire these are wonderful examples all from the golden age of Violin music.

Peters Urtext editions of Handel's Violin Sonatas in G Minor D Minor A D Minor A and E.

Sonata in a minor for Violin and Basso continuo-There has been increased general interest in the Bohemian composer Johann Baptist Georg Neruda (c. 1711 1776) over the past few years especially due to his frequently played trumpet concerto. A respectedviolinist and longstanding member of the Dresden Court Orchestra he did however mainly compose for the Violin. The substantial and technically quite demanding Violin Sonata in a minor was published for the first timeever in 1982 as part of Henle's edition ?Bohemian Violin Sonatas? (HN 334). Henle are now proud to present it in a practical single edition with a new preface as well as an additional unmarked part.

Giuseppe Tartini (1692 - 1770) Quattro Sonate per Violino - Sonata Il Trillo del Diavolo (Bg5) per VL/BC - Sonata Didone Abbandonata (Bg10) per VL/BC - Sonata Senti lo Mare per (Be1) per VL/VC - Sonata La mia Filli (Ba3) per VL solo A cura di / Edited by Federico e Giovanni Guglielmo La pubblicazione è composta da: - Partitura - Parte di violino secondo le fonti originale - Parte di Violino con revisione violinistica - Parte del Basso La straordinaria riscoperta in tempi moderni della musica di Antonio Vivaldi è stata strettamente connessa sin dagli anni cinquanta dello scorso secolo alla meritoria prima edizione (più o meno completa) da parte dell?Istituto Italiano Antonio Vivaldi fondato da Antonio Fanna. In seguito, oltre ad avere pubblicato quasi la totalità delle composizioni del Prete Rosso l?Istituto veneziano ha corretto e attualizzato le sue più antiche edizioni alla luce delle nuove conquiste musicologiche e con una precisa attenzione a quelle che erano le istanze che provenivano dagli esecutori ?storicamente informati?. Giuseppe Tartini non ha goduto di altrettanta fortuna. Dopo alcune edizioni assai poco accurate (si potrebbe parlare piuttosto di reinterpretazioni, quali furono tra le altre quelle del leggendario violinista Fritz Kreisler e di Riccardo Zandonai), legate prevalentemente alla sopravvivenza ottocentesca di alcuni brani (in particolare il Trillo del Diavolo, la Didone Abbandonata e le variazioni L?Arte dell?Arco) nel corso del XX secolo poche edizioni davvero attendibili sono state date alle stampe, in primis quelle della collana a cura di Edoardo Farina e Claudio Scimone (Le opere di Giuseppe Tartini, Carisch) ma anche grazie all?azione isolata di violinisti (Giovanni Guglielmo) e musicologi (Enrica Bojan e Agnese Pavanello). Ancora oggi siamo ben lontani dalla possibilità di avere una moderna e completa edizione dell?opere del Maestro delle Nazioni anche se grazie all?instancabile lavoro di Sergio Durante e con l?istituzione del ?Comitato Tartini 2020? si intravedono nuovi slanci e grandi opportunità. La mancanza di edizioni attendibili per gli interpreti si è sovente riverberata sulle esecuzioni - fossero queste inserite in saggi scolastici, concorsi internazionali o recital dei più noti virtuosi - al punto che è stato quasi impossibile liberare le opere tartiniane da tutta una serie di istrionismi e di stilemi ottocenteschi che ormai si erano profondamente radicati alla percezione di queste opere. La presente edizione mira quindi non tanto a fornire una nuova edizione critica (talune, ottime, già esistono) di queste quattro Sonate che sono state scelte per la loro notorietà, rappresentatività e bellezza quanto piuttosto a garantire agli interpreti, siano essi giovani studenti o affermati professionisti, un testo coerente e corretto. Per questo motivo in aggiunta ad una parte di violino priva di segni interpretativi abbiamo ritenuto utile introdurre una seconda parte di violino con diteggiature ed indicazioni dinamiche che potranno essere di giovamento sia per gli interpreti ?tradizionali? che per quelli interessati alle prassi esecutive storiche. Federico Guglielmo

Debussy wrote his solitary Violin Sonata in the closing days of his life plagued by the distress of the ongoing Great War financial difficulties and health issues of a terminal cancer. Shortly afterits completion in April the first performance took place on May 5th 1917 with Debussy himself at the Piano. This was the composer?s last public appearance before his death in 1918.The Sonata For Violinand Piano was the third and final composition in a cycle intended to consist of six sonatas for various instruments. It has an overall atmosphere of melancholy while also capturing contradictory characteristics such asjoy and silliness presented in a form closer to a fantasia than a sonata. The three expressive movements (Allegro vivo Intermede and Finale) are written in a French nationalistic spirit withdistinctive influences from Spanish and gypsy music throughout. This ambiguousness and ambivalence in form sound and character all attribute to Debussy?s innovative language of ?musical impressionism? which has become afavourite of musicians and audiences alike.The comments at the end of this Urtext edition provide detailed information on the sources and alternative readings while the preface by François Lesure in German English andFrench gives historical and biographical context. Two copies of the Violin solo are included as separate inserts.