Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant le violon.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - quatre volumes.Volume 1 (Réf. 6370) : Hans GERLE - Matthias KELZ - Johann Jacob PRINNER - Georg MUFFAT (1) - Daniel SPEER - Georg MUFFAT (2) - Joseph Friederich Bernhard Caspar MAJER - Johann Philipp EISEL - Maurus BUOHL - ANONYMEVolume 2 (Réf. 6371) : Leopold MOZARTVolume 3 (Réf. 6391) - : George Simon LÖHLEIN - Johann Friedrich REICHARDT (2) - Karl TAUBER VON TAUBERFURTVolume 4 (Réf. 6392) : Francesco GEMINIANI - Giuseppe TARTINI - F.A.W. ANONYME - Johann Adam HILLER - Ignaz SCHWEIGL (2) - George Simon LÖHLEINTable des matières : Volume 1 : Gerle Hans : Musica und Tablatur, auff die Instrument der kleinen und grossen Geygen - 1546Kelz Matthias : Epidigma Harmoniæ Novæ - 1669Prinner Johann Jacob : Musicalischer Schlissl - 1677Muffat Georg : SUAVIORIS HARMONIÆ INSTRUMENTALIS - 1695Speer Daniel : Grund-richtiger Kurz-Leicht-und Nöthiger jetzt Wol-vermehrter Unterricht der Musicalishen Kunst - 1697Muffat Georg : EXQUISITORIS HARMONIÆ INSTRUMENTALIS - 1701Majer Joseph Friederich Bernhard Caspar : MUSEUM MUSICUM THEORETICO PRACTICUM - 1732Eisel Johann Philipp : Musicus autodidactos - 1738Buohl Maurus : Ein neues durch die Musicalische Combination - 1756Anonyme : Rudimenta Panduristæ - 1770Volume - 2 : Mozart Leopold : Versuch einer gründlichen Violinschule - 1756Volume - 3 : Löhlein George Simon : Anweisung zum Violinspielen - 1774Reichardt Johann Friederich : Schreiben über die Berlinische Musik - 1775Reichardt Johann Friederich : Antwort Schreiben eines Ton-Künstler - 1782Reichardt Johann Friederich : Ueber die Pflichten des Ripien-Violonisten - 1776Tauber Von Tauberfurt Karl : Uiber meine Violine - 1780Volume - 4 : Geminiani Francesco : Gründliche Anleitung oder Violin Schule - 1782Tartini Giuseppe : Brief des Joseph Tartini an Magdalena Lombardini - 1786Anonyme : Anmerkungen über die Violin und den Violinspieler - 1788Hiller Johann Adam : Anweisung zum Violinspielen, für Schulen, und zum Selbstunterrichte - c.1792Schweigl Ignaz : Grundlehre der Violin. Erster Theil - 1794Schweigl Ignaz : Grundlehre der Violin. Zweiter Theil - 1795Löhlein George Simon : George Simon Löhlein's Anweisung zum Violinspielen (...) mit Verbesserungen und Zusätzen - 1797Téléchargez le catalogue Anne Fuzeau Classique / Violon / 1080 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Allerheiligentag V. Par LINJAMA JYRKI. The material for Jyrki Linjama's Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba (2018) and Sonata for violin solo (2019). The composer tells: 'The choice of topic and material was originally influenced by the place where the string trio would be premiered ? the old church on the island of Seili (Själö) in the Turku archipelago. The bleak history of the mental hospital on the island invited images of suffering and death. I got so attached to the fine, bleak melody that this series of works began to emerge.' Lasting 17 minutes, the sonata for solo violin has three movements, all of them embracing the folk choral material and Béla Bartók?s influence in different ways. It was premiered by Kaija Saarikettu at the Kaustinen Chamber Music Festival in 2020. / Date parution : 2022-05-31/ Répertoire / Violon

Recitare for Violin solo by Søren Nils Eichberg was commissioned by Universität der Künste Berlin for The International Max Rostal Competition for Violin and Viola 2015.

Johann Sebastian Bach's Sonatas and Partitas for Violin Solo are among the most famous masterpieces of their kind. Unlike the closely related Suites for Violoncello Solo the Violin solos have survived in an autograph manuscript of the composer on the basis of which alone a largely reliable musical text is available. However this manuscript is a copy of previous draft copies or even further fair copies of the composer. Wiener Urtext Edition uses an early copyist's copy from Köthen as a secondary source which has not been valued very highly as a source until now. Despite its closeness to the extant autograph one cannot rule out thepossibility that this copy might be traced back to another original manuscript by Bach. At any rate some obvious mistakes of the extant fair copy can be clarified on the basis of its text; in addition it provides a number of articulations not indicated elsewhere (some even with alternatives) which are examples of how these works can be performed according to their time of origin. In the Notes of Interpretation Dagmar Glüxam explains the relationship between the musical-rhetorical contents of Bach's musical text and their adequate performance thus showing how absurd many a performance instruction of established interpretive editions is.

Violin/Solos. This collection of symphony themes contain the best-known and beautiful melodies composed by Haydn Mozart Beethoven Schubert Schumann Mendelssohn-Bartholdy Berlioz Franck Brahms Dvorák and Tchaikovskyarranged for the intermediate flutist. A free piano accompaniment download is available for use with this title. Free piano accompaniment available.

1st Position-An easier Concerto by Tchaikovsky bursting with all his usual sparkle. This attractive piece is arranged for Violin and Piano in the first position by K.W. Rokos to make it suitable for the young player.

Composed by Jean Batiste Accolay arranged by Otto K. Schill. For violin with piano reduction.

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Violon 1 (Partie Séparée)

Antonín Dvorák
Romance en fa mineur op. 11
Till Kordt-Dauner (Editeur)
Johannes Umbreit (Réduction pour piano)
Antje Weithaas (Doigtés violon)
Edition Urtext, réduction pour piano, reliure paperback
partie de corde avec ou sans indications de doigté
L’année 1873 représenta pour Dvorák un tournant. Suite au refus de son opéra «Le Roi et le charbonnier», il essaya de donner une nouvelle direction à son œuvre. Son Quatuor à cordes en fa mineur op. 9, achevé la même année, devait marquer le coup d’envoi d’un nouveau style, moins influencé par la musique de Wagner – à sa grande déception ce quatuor subit un échec auprès des musiciens. Malgré ces expériences douloureuses, Dvorák donna une deuxième chance au mouvement lent du Quatuor et le transforma en une Romance pour violon et orchestre ou piano, laquelle fut exécutée en 1877 avec beaucoup de succès. Les doigtés et les coups d’archet de Antje Weithaas confèrent une brillance toute particulière à notre édition Henle Urtext de ce petit bijou de la littérature pour violon. / Partitions classique / Cordes / Violon / HENLE VERLAG

Méthode en anglais pour violon avec exercices et études. Titres : Tonalization; Vibrato Exercises; Gavotte (P. Martini); Minuet (J. S. Bach); Gavotte in G Minor (J. S. Bach); Humoresque (A. Dvoák); Gavotte (J. Becker); Gavotte in D Major (J. S. Bach); Bourrée (J. S. Bach) Auteur/Compositeur : SUZUKI Support : Livre Style : Classique

Un'innovativa iniziativa editoriale volta a riorganizzare la straordinaria opera didattica di Otakar Sevcík, ad oggi disseminata in varie Opere e Volumi che seguono una logica tematica, mescolando al loro interno differenti livelli di difficoltà tecnica. L'intento di questa nuova edizione è quello di riorganizzare l'immensa opera di Sevcík, indiscusso pilastro della tecnica violinistica, secondo la logica della gradualità didattica, al fine di aiutare sia l'insegnante che l'allievo a trovare all'interno di un unico testo di riferimento tutte le parti afferenti allo stesso livello tecnico. Non si dovrà perciò più, come in passato, selezionare da più opere e più volumi in base alle abilità raggiunte dallo studente. Questa nuova edizione comprende nel complesso 5 volumi, che si riferiscono allo studio del violino dal 1o al 5o Corso. / Violon

Un'innovativa iniziativa editoriale volta a riorganizzare la straordinaria opera didattica di Otakar Sevcík, ad oggi disseminata in varie Opere e Volumi che seguono una logica tematica, mescolando al loro interno differenti livelli di difficoltà tecnica. L'intento di questa nuova edizione è quello di riorganizzare l'immensa opera di Sevcík, indiscusso pilastro della tecnica violinistica, secondo la logica della gradualità didattica, al fine di aiutare sia l'insegnante che l'allievo a trovare all'interno di un unico testo di riferimento tutte le parti afferenti allo stesso livello tecnico. Non si dovrà perciò più, come in passato, selezionare da più opere e più volumi in base alle abilità raggiunte dallo studente. Questa nuova edizione comprende nel complesso 5 volumi, che si riferiscono allo studio del violino dal 1o al 5o Corso. / Violon