Contains the Complete Sonatas and Partitas (BWV 1001-1006) • Concerto in A minor, BWV 1041 • Concerto in E Major, BWV 1042 • Concerto for Two Violins in D minor, BWV 1043 (second violin part included) • Concerto in G minor, BWV 1056R • Arioso from Ich steh mit einem Fuss im Grabe, BWV 156
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Concertmaster solos in Tchaikovsky's music take a prominent place. His third and fourth Suite (Mozartiana) and the second movement of the Piano Concerto No. 2 feature the solo violin. In the Imperial Ballet in St. Petersburg, the violin solos were performed by the Solo Violinist of the Tsar, a title bestowed by the tsar upon the finest violinists in all of Russia. As the ballet solos were performed by the likes of Henri Wieniawski and Leopold Auer, the composers gave free reign to their creative inspiration and wrote some of their most gorgeous lyrical and virtuoso music for solo violin. The White Swan Pas de deux and the Black Swan Pas de deux are of extraordinary beauty expressing love and impending drama. The Russian Dance is a virtuoso showpiece foreshadowing the last movement of the composer's violin concerto.
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A fresh take on a time-honored classic, this edition of Wohlfahrt's Op. 45 Studies for Violin (Book I) features newly composed violin teacher accompaniments. Make technical study a fun and collaborative experience. The accompaniments provide an enjoyable introduction to ensemble playing. Playing in duet will sharpen the student's intonation and listening skills. The teacher will be able to coach the student on other aspects of ensemble playing as well, including the importance of subdivision and rhythmic accuracy, how to play a melodic versus an accompaniment line, and how to play through a mistake for the sake of the ensemble. The accompaniments also give the teacher the valuable opportunity to guide the student nonverbally on phrasing, dynamics, and tempo through his or her own playing.
Includes a playing score of the duets and a violin insert of the original etudes, a preface on how to incorporate the studies into instruction and practice, and a chart that categorizes the studies by right and left hand technical issues.
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Brahms's First Violin Sonata in G major is also known by the sobriquet “Regenliedsonate” (Rain Sonata) because its final movement quotes melodic motifs from his two songs “Regenlied” and “Nachklang” (which likewise has rain as its subject). The dotted opening motif of the finale already pervades the first two movements, thereby contributing to the inner cohesion of this wonderfully expressive, elegiac work. Brahms's contemporaries enthusiastically received this sonata, which was completed in 1879. Elisabeth von Herzogenberg, a close friend of the composer, found that one has to “love it like little else in the world.” The musical text of this revised Urtext edition is based on that of the newly completed volume of the New Brahms Complete Edition,which guarantees the highest degree of scholarly precision.
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Brahms completed his Violin Sonata in d minor op. 108 in 1888. It was the culmination of several years of work, and his final contribution to the genre. This Third Sonata is his only one in a minor key, and stands in stark contrast to its two predecessors, the cheerful and lyrical Sonatas in G major and A major. Cast on a large scale, its four movements are full of tense drama, technically and musically demanding in equal measure and crowned by a brilliant finale that Brahmss contemporaries admired for its “tempestuous” character. Reason enough for G. Henle Verlag to offer this sonata in a separate edition.
The musical text of this revised Urtext edition is based on the recently-published volume within the New Brahms Complete Edition, which guarantees the highest degree of scholarly precision. The helpful, well-thought-out fingerings are provided by the establishedchamber duo Frank Peter Zimmermann and Martin Helmchen.
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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 only finished 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 that the 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.
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Dvorák composed this concerto at his publisher's suggestion. He drafted it relatively swiftly in summer 1879, but completing it was a more drawn-out process that lasted until 1882. He had the famous violinist Joseph Joachim look over the violin part, and also dedicated the concerto to him. But Joachim's suggestions resulted in numerous reworkings, and he ultimately lost interest in the work. As a result, the world premiere was given by the Czech violinist Frantisek Ondrícek. This formally unusual work begins and ends with a sonata rondo, and adopts a Slavic tone throughout. After a lyrical middle movementit closes with lively Czech dance rhythms. This Urtext edition draws on both the autograph and on the first editions of the score, solo part and piano reduction. The solo parthas been marked up by one of the concerto's most knowledgeable exponents, world-famous violinist Augustin Hadelich.
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This book presents North and South Indian music in staff notation to whet the appetite of discerning western violin players. The melodies begin at around Grade 4 level, progressing to GCSE and A level music performance material. The explanation of North and South Indian music comes with a variety of ragas and compositions from both systems. Candida Connolly provides an informative introduction to this interesting and beautiful music, including careful explanations of the elaborate ornamentation. The pieces are performed on the accompanying audio download files by Candida and her colleagues from the Bharatiya Vidya Bhavan Centre, London.
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Méditation is the second movement of the Suite concertante for violin and orchestra. In this instrumental, standalone “aria” Martinudepicts a wide range of emotions. This edition was published for the first time after the early version of the suite.
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1873 was a turning point for Dvorák. Precipitated by the rejection of his opera “The King and the Charcoal Burner,” he tried to give his compositions a new direction. His String Quartet in f minor op. 9, which he contemplated that same year, was supposed to mark the beginning of a new style that was less orientated towards Wagner. However, much to his disappointment, it was rejected by musicians. Notwithstanding this painful experience, Dvorák gave the slow movement of the quartet a second chance, reworking it as a Romance for Violin and Orchestra or piano. It was first performed in 1877 to great acclaim. The fingerings and bowings by Antje Weithaas lend the Henle Urtext edition of this jewel of violin literature a special touch.
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Composed in 2021 and dedicated to the soloist Nicola Benedetti, this work was written as a memorial tribute to the Polish composer Krzysztof Penderecki, who died the previous year and was a major musical influence on the composer, particularly during his formative creative years. MacMillan writes, “One of the co-commissioners for Violin Concerto no 2 was Polish and I was keen that there be some acknowledgment of the late Penderecki in some way in the new work. I was happy to oblige with a dedication to a composer I have greatly admired from an early age.” He describes creating a new work for Nicola Benedetti: “I've worked with Nicola on her recording of the Mendelssohn concerto and on tour with her on the Mozart G Major concerto, and have absorbed a lot from these experiences. I composed From Ayrshire for her some years ago which is a short piece that can be performed with either piano or small orchestral accompaniment. I also wrote a short work for her and some singers of The Sixteen for the very first Cumnock Tryst festival in 2014. All this has been important in the way I have built my relationship with Nicola, and in my approach for this concerto.” Adopting a more compact format than MacMillan's first violin concerto from 2009, the second employs a medium-sized orchestra and plays continuously in a single through-composed movement of 25 minutes' duration.
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This edition of Beethoven's violin concerto includes online audio of full orchestral performances and accompaniments, an insert containing the solo violin part, and an additional insert with the popular cadenzas by Fritz Kreisler. Performers in the audio recordings are violinist Geoffrey Applegate and the Stuttgart Symphony, conducted by Emil Kahn.
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As a passionate composer, organist and ornithologist, many of Olivier Messiaen's works incorporate these three elements. However, he took a different stance for his Thème et Variations for Violin and Piano, composing it as a wedding present for his first wife, Claire Delbos in 1932. The couple gave its first performance during the same year. Admitted to the Paris Conservatoire at the mere age of eleven, Olivier Messiaen (1908-1992) was an outstanding pupil, winning many prizes. Thème et Variations was composed shortly after his appointment as titular organist at the Sainte Trinité church in Paris and is often considered to be characteristic of his famous Quatour pour la fin du temps. Made up of a theme and five variations, it begins simplistically before entering the complex variations. The theme is composed in common time and at a moderate tempo. Each variation varies in dynamics, time signature, tempo, tonality and rhythm, among other elements; however, Messiaen cleverly retains suggestions of the theme all throughout. Challenging as it is, Thème et Variations is an exciting, varied and compelling performance piece for all advanced violinists.
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Polish violin virtuoso Henryk Wieniawski wrote most of his works for himself and performed them on his worldwide concert tours. Includes Souvenir de Moscou Op. 6, Thème original varié op. 15, Mazurka “Obertas” op. 19/1, Mazurka “Dudziarz” op. 19/2 and more.
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The Belgian violinist and composer Henri Vieuxtemps (1820-1881) was one of the most important violin virtuosos of the 19th century. Concert tours took him throughout Europe and to the USA; for only a few years he accepted a permanent position as court musician in St. Petersburg. From 1864 he taught at the Paris Conservatoire, and from 1871 at the Brussels Conservatoire, where the famous violinist Eugène Ysaÿe was his pupil. This volume contains well-known works and rarities from his concert repertoire, including the Romances Op. 7, Souvenir d'Amérique Op. 17 (variations on the famous melody 'Yankee Doodle') and the much-performed work 'Ballade et Polonaise' Op. 38. The meticulous edition by Wolfgang Birtel has been arranged for practical use by Prof. Friedemann Eichhorn. Recommended for study and concert.
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“Being Russian born I have a strong connection to the ballet scores of Tchaikovsky, Prokofiev and Stravinsky, and as a result in theWild Swans, more than in any other work of mine, I allowed myself the freedom to roam through 200 years of musical genres, ranging from Hungarian Operetta through folk music and even including the influences of jazz and popular music,” says Elena Kats-Chernin. The full-length work, which premiered in Sydney in 2003, was written for choreographer Meryl Tankard after the two artists had already worked together for the opening ceremony of the 2000 Olympic Games, and became one of the composer's greatest successes. Many excerpts in various arrangements have a concert life of their own today - including the world-renowned Eliza Aria. Arranged by the composer in 2004 for violin and piano after the original orchestral version, the half-hour suite comprises ten characteristic movements: Green Leaf Prelude, Eliza Aria, Brothers, Wicked Witch (piano solo), Magic Spell Tango, Glow Worms, Darkness of the Forest, Eliza and the Prince, Mute Princess, Transformation.
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Sonata for Violin and Cello composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire, a professor at the National Conservatoire. Ideal for a recital or for a contest, this sonata in four parts is quite challenging for both instruments and would require advanced skills. The cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso, 2. Vivace, 3. Grave and 4. Allegro Assai. This really nice sonata will be a delight to play and to listen to. Luigi Boccherini (1743-1806) composed numerous pieces for various instruments, including cello duets, chamber music, cantatas, ballets, orchestral music, masses, and a large amount of music for strings. MORE»
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Hans Winterberg has only recently been rediscovered as one of the most important representatives of the Czech avant-garde of the first half of the 20th century. Performed but not published during his lifetime, his works were locked away after his death due to tragic circumstances and are now being published for the first time in a collaboration between the Exilarte Centre of the Vienna University of Music and Boosey & Hawkes. In contrast to his colleagues and friends Ullmann, Haas, Krása and Klein, Winterberg survived the Shoah through a series of miracles. As a student of Alexander Zemlinsky and Alois Hába, he is both a successor to Janácek and a member of the wider circle of the Second Viennese School.
The Sonata for Violin and Piano, written and premièred in Prague in 1936, is one of the most important chamber music works of the pre-war period. It exhibits all the characteristics of Winterberg's personal style: a sensuality of sound grounded in French Impressionism with a simultaneous expressionist rigour of harmony, a small-scale motivic structure, a sophisticated play with polyrhythmic patterns and, especially in the last movement, a musical impetus borrowed from Czech folklore.
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Hans Winterberg's extraordinary life was written in two chapters, one Czech and one German, split right down the middle by the experience of the Shoah, which Winterberg, unlike his colleagues Ullmann, Krása, Haas and Klein, miraculously survived. In 1947, the Prague-born composer moved to Munich, where he worked for the Bavarian Broadcasting Corporation. As a student of Alexander Zemlinsky and Alois Hába, he belongs both to the Czech tradition following Janácek and to the circle of the Second Viennese School. He saw himself as a bridge builder between Western and Eastern culture. The circumstances under which Winterberg was able to compose during the war years are still unclear. Although his “mixed marriage” initially saved him from deportation, he had to perform forced labour and was eventually sent to the Terezin ghetto in January 1945.
The Suite for Violin and Piano was composed in 1942, the year in which both Winterberg's mother and his piano professor Thérèse Wallerstein were murdered by the Nazis. Compared to the violin sonata from 1936, the Suite is much more condensed, lasting less than seven minutes. A melody dominated by chromatic turns and expressionist harmony lend the work its melancholy character, which gives way, however, to an almost irrepressible defiance in the rhythmically percussive last movement.
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This volume in the series “Les éditions originales Durand - Salabert - Eschig” contains a selection of sonatas for violin and piano composed between the end of the 19th century and the beginning of the 20th. The original engravings are reproduced, giving musiciansa valuable record of how these major works were first published, whether in the composer's lifetime or posthumously.
Contents include:
Camille Saint-Saëns: 1st Sonate opus 75
César Franck: Sonate
Gabriel Pierné: Sonate opus 36
Gabriel Fauré: 2nd Sonate opus 108
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The Polonaise was composed in two versions: for violin with piano accompaniment, and for violin and orchestra. The original version was inspired by Karol Lipinski, to whom it is dedicated.
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Contents: Caprice Viennois • Berceuse Romantique • Polichinelle • Altdeutsches Schäfermadrigal • Zigeuner-Capriccio • Syncopation • Chanson Louis XIII et Pavane im Stile von Louis Couperin • Praeludium und Allegro im Stile von Gaetano Pugnani • Sicilienne und Rigaudon im Stile von Francois Francoeur • Alt-Wiener Tanzweisen: I Liebesfreud, II Liebesleid, III Schön Rosmarin • Dansa espagnole (Granados) • Tango, Op. 165, No. 2 (Albéniz).
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Parisian violinist Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. J. S. Bach's Menuet and Gigue is clearly printed with all edited and necessary performance directions. J.S. Bach (1685-1750) is one of the greatest composers of all time. His compositions for the violin were significant, most of which remain popular today in the advanced violinist's repertoire. The violin solo line of Menuet and Gigue makes use of harmonics, bow techniques, aritculations, fast semiquavers, and ornamentation. Catherine's series, Violin Classics provides essential access to significant repertoire of the violin, preparing advanced violinists for the major works of the repertoire. MORE»
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Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Viotti's Concerto No. 29 is clearly printed with a helpful key of unusual techniques. Viotti (1755-1824) was an Italian violin virtuoso. He composed a significant 29 concertos for the violin which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 29 makes use of extended techniques, including harmonics, bow techniques, aritculations, fast semiquavers, and double stops. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
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for violin and piano
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for violin and piano
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