Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano

Viennese Sonatas 1781-1788 with fragments and variations-This new publication in two volumes contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new Bärenreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully Bärenreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '... a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006)

Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.The Piano reduction of Mozart?s G Major Violin Concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages.The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section.A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas ?Eingänge? and fermata embellishments by Eugène Ysaÿe Leopold Auer Sam Franko and Martin Wulfhorst.This collection offers players a spectrum of styles available in no other publication.Urtext of the New Mozart EditionFull score and parts (BA4865) Violin and Piano reduction (BA4865-90) and study score format 22.5 x 16.5cm (TP272) available for sale.

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

This is not only Mozart’s first concerto for the Violin but his first concerto altogether. He composed it at the age of 17 writing it in Salzburg in 1773 two years before his other four Violin concertos. And what aconcerto it is! This new publication completes Henle’s series of Mozart‘s violin concertos and single movements all of which are now available in exemplary urtext editions with easy-to-play Piano reductions.

Wunderkind Sonatas I K. 6-9 for Piano and Violin-At the time Mozart?s genius recognised at an early age could only be explained as being God-given. Wolfgang Amadeus and his sister Maria Anna older by five years were admired as being 'Wunderkinder' (prodigies) on theirtravels through Western Europe between 1763 and 1766. The piano sonatas ?with a violin accompaniment? K. 6 9 were composed in Paris. It is wonderfully fresh and varied music. The piano is joined by a violin that adds colour butnot as an equal partner unlike in the later great violin sonatas (see HN 77 80). This music is not only ideally suitable for piano and violin teaching purposes but will also allow musicians who already know ?everything? todiscover some treasures.With marked and unmarked string parts

Par . This single-volume compilation features four popular opera fantasies arranged for Violin with Piano accompaniment. Each of these frequently performed pieces was arranged by a world-class artist and offers the convenience of a separate Violin part: Carmen Fantasy from the Opera by Georges Bizet, Op. 25, transcribed by Jenö Hubay. Fantasia on Themes from Gounod's Faust, Op. 20, transcribed by Henri Wieniawski. Fantasie from Mozart's The Magic Flute, Op. 54, transcribed by Pablo Sarasate. Fantasie Brillante on the March and the Romance from Rossini's Otello, Op. 11, by Heinrich Wilhelm Ernst. This collection is ideal for practice, performance, teaching, and independent study bystudents, professional performers, and amateur ensembles. / Date parution : 2023-03-15/ Recueil / Violon et Piano

(Aurnhammer) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the second volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.296 and K.376-80 also known as the Aurnhammer SonatasOp.2.This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert with fingerings by Walther Lampe and Karl Rohrig and provides you with the most accurate realisation of thecomposer’s original intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

for Piano and Violin-A collection of Mozart's early Viennese Sonatas for Violin and Piano edited by Eduard Reeser. This accurate and authoritative Barenreiter Urtext edition is suitable for both study and performance.

for Piano and Violin-Wolfgang Amadeus Mozart's Sonatas For Piano And Violin. Late Viennese Sonatas.

Violin and Piano Reduction-This convenient publication in Schirmer's Library of Musical Classics collects Mozart's most often-played Violin concertos in one affordable volume.

An Urtext edition of W.A. Mozart's Violin Concerto No.3 In G K.216 as edited by Wolf-Dieter Seiffert with Piano reduction by Siegfried Petrenz and fingering bowing cadenzas and lead-ins by Kurt Guntner.

Par MOZART WOLFGANG AMADEUS. Cette projection édition complète les sonates de Mozart pour clavier et violon a été l'objet de recherches et préparé par Cliff Eisen, un des plus éminents spécialistes Mozart de notre temps. Professeur Eisen reconnaît que les contradictions apparentes et particularités de la notation de Mozart sont parfaitement délibérées, et que les tentatives dans de nombreuses autres éditions d'imposer l'uniformité sur des expressions similaires ou paragraphes musicales peuvent être erronées. Comme il l'écrit dans la préface: ' …la notion que le ' style classique ' représente un modèle de symétrie, équilibre et la clarté est en grande partie une fiction…it du XIXe siècle a peu à voir avec la pratique de Mozart, qui repose principalement sur la variété de contenu et d'articulation '. Donc dans cette nouvelle édition, lectures alternatives dans les passages parallèles sont préservés, plutôt que d'être stérilisés par une quête fallacieuse de conformité. Naturellement, toutes ces instances sont notés dans le commentaire critique. L'accroche hautement individuels au sein de le Mozar... / Urtext / Répertoire / Violon et Piano