4 Pieces Op. 17 Urtext Violin And Piano

As early as the age of four Mozart amazed his father with his quickness of mind as regards Piano-playing. The first works are easy dance movements by the five-year-old who developed with extraordinary speed. During his lifetime he created several Piano pieces apart from the sonatas and variations. The pieces from his youth most of them written down in the music book for Maria Anna Mozart and in the so-called London sketch book are mostly short dance movements but there are already lengthy individual movements as well. From the mid-1770s there are mainly larger individual works including fantasias and rondos which can stand as equals to the sonatas andvariations of the Viennese period.Volume 2 contains the mature works from the later years of composition including the popular fantasias and rondos as well as several sonata form drafts completed by comtemporaries of Mozart. In addition the present edition contains solo piano versions of the Concert Rondo K 382 the rondo from the Duo for Violin and Viola K 423 as well as the overture of the 'Abduction from the Seraglio'.

with marked and unmarked string part-Just like many other violin virtuosos of the 19th century Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folkmusic traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness and are undoubtedlyamong his most successful compositions. In masterly fashion Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate???s Zigeunerweisen(HN 573) a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.

Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. 73 were first performed by his wife Clara and the clarinettist Johann Gottlieb Kotte. Initially entitled Soirée Pieces, the composer later had the works published under the name of Fantasy Pieces, thus establishing a connection with poetical aspects. The first edition published in July 1849 contained not only a clarinet part but also a violin and cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the first edition as well as on subsequent corrections from Schumann's personal copy, with the extant composition manuscript serving as an important corrective. / Violoncelle Et Piano

In the earlier part of Elgar's career as a composer he wrote several short pieces which became very popular. Chanson de Nuit and Chanson de Matin both carried his name far and wide before he composed his larger orchestral works. These two pieces which together complete Op.15 were published in several versions at once: for string orchestra for small orchestra for violin and piano and so on - so it is almost impossible to say with any degree of certainty which was the original version. However Elgar himself was a good violinist and so it may well be that he would have played this tune through to himself on the violin before adding a piano part andsending it off to his publishers for their consideration. In any event it remains a beautiful theme of considerable character and style.This Urtext edition provides you with an accurate representation of the composer’s original intentions and thoroughly detailed editorial marking and suggestions with commentary as edited by Donald Burrows.This is the version for Solo Violin with Piano Accompaniment. The solo violin part is also included on a separate insert.

An Anthology of original pieces by Gabriel Faure for Violin with Piano accompaniment. This Urtext edition has been edited by Roy Howat.

Arrangement for Piano-Aside from the Violin Chaconne (HN 557) and the ten Chorale Preludes for Organ (HN 1293) the Prelude and Fugue in D major ranks among the best-known Piano transcriptions Busoni fashioned from J. S. Bach?s works. Considerable evidence suggests that he viewed these three pieces as paradigmatic examples of his transcription technique. Busoni?s explicit labelling of the Prelude and Fugue ?for concert performance? in the title already serves as an indication of the heightened virtuosic requirements. And indeed here Busoni demands that the pianist have perfectly mastered the keyboard always with the aim of delegating to the Piano effectively but still in the spirit of Bach the mighty sound-world of the Organ work. This Urtext edition is heartily recommended to all those pianists who have ever wanted finally to pull out all the stops on the Piano.

?l?gie for Violoncello and Piano op. 24-Following the enthusiastic reception of his first Violin Sonata (HN980) it was clear to Faur? that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as theslow movement for a sonata. However Faur? gave up the sonata project instead publishing the piece under the title ??l?gie. It was so successful that Faur? was urged by the publisher to write further pieces. Theconductor ??douard Colonne commissioned a version of the ??l?gie for orchestra in 1895 which was premi?red two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.

Opus 132-No romantic poetry and no concrete fairytale figure occasioned Schumann to write this composition. Today we can assume that the title of the pieces originally entitled 'Romances' was merely supposed to conjure up a poetic andfairytale world. Presumably inspired by Mozart’s 'Kegelstatt' Trio K. 498 Schumann occupied himself intensively with plans for a work for this distinctive combination of instruments whose 'unique effect' enthused him. Yet almostthree years passed before he sent a publisher these works that he had 'written with great pleasure'. The first edition contained a violin part as an alternative to the clarinet. As this part was authorized by Schumann it is alsoincluded in this Urtext edition.

EDITION URTEXT Compositeur : Schumann, Robert Instrumentation : Stimme (V,Va,Vc etc) Nombre de pages : 44

During his lifetime composer Piano manufacturer and publisher Ignaz Pleyel bestowed upon the world of music an almost unimaginable number of published compositions some of them in multiple arrangements too. Of those what has remained in the repertoire today are primarily works for small chamber ensembles. Several Violin duos for instance have maintained their place among enthusiasts and students among them in particular the ?Little Duos in Increasing Difficulty ? which appeared in print in 1806 ?at the urging of several teachers? (according to the title page!). Now for the first time G. Henle Publishers presents these light performance pieces in anUrtext edition both in full score and as two individual parts to optimise use for any occasion.

Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduke? Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its première together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven?s last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today it numbers among his most celebrated pieces of chamber music, not least because of its remarkable melodiousness ? a feature typical of Beethoven?s music from these years ? and its spacious formal design. Jonathan Del Mar?s new critical edition of the Trio draws not only on early prints but also on various handwritten sources. A detailed introduction by Misha Donat is devoted to the work?s historical contexts. - Urtext edition of Beethoven?s most famous piano trio - Detailed introduction (Eng/Ger), editor?s foreword (Eng/Ger) and Critical Commentary (Eng) / Date parution : 2022-11-29/ Répertoire / Violon, Violoncelle et Piano

A large number of works have survived bearing the name of Johann Sebastian Bach the authenticity of which has been called into question on various occasions. This edition now combines all those pieces where Bach?s authorship has been either verified by the musicologists at the ?New Bach Edition? or where there is a degree of certainty about this.The edition gathers together a range of different types of composition: as well as numerous preludes and fugues there are toccatas dance and concert works. Two adaptations after the Violin solo sonatas BWV 1003 and 1005 are worth special mention. These two works demonstrate particularly clearly whatapplies to all the other works in this volume: whether Bach?s authorship is doubtful or not there is no question that this is a collection of fascinating music.This performing edition corresponds to the complete edition volume of the ?New Bach Edition? BA 5296 (Series V Vol. 12) published in 2006.- Urtext based on the ?New Bach Edition?.- Numerous facsimile pages.- Foreword on the history of the works? genesis transmission and on questions of authenticity(Ger/Eng).Contents:VorwortPrefaceFaksimilia/Facsimiles:SuiteB-DurBWV821 FantasieundFugeB-DurBWV907 Sonated-MollBWV964SuiteB-DurBWV821Toccatinad-Mollbestehendaus/consultingofPräludiumd-Mo llBWV899/1 Fuged-MollBWV900/02 AdagioundPrestoa-MollBWV923a Allegrettoscherzandod-MollBWV844 Andanteg-MollBWV969 Prestod-MollBWV970Scherzoe-MollBWV844aFantasieundFuged-MollBWV905FantasieundFughettaB-DurBWV907FantasieundFughettaD-DurBWV908