2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

aus Böhmische Tänze und Weisen op. 10. Par SEVCIK OTAKAR. The Czech violinist and eminent violin teacher Otakar ?evcík (1852?1934) is the author of a world-renowned violin school, and our publishing house offers a wide range of his educational works in new editions. ?evcík?s only work for concert performances is the series Czech Dances and Tunes op. 10 (1872). The first of these dances, The Girl with Blue Eyes, one of the most popular virtuoso violin compositions in Czech literature, is now being republished in an edition of its own. This paraphrase of a classic Czech folk song provides the soloist with the opportunity to showcase the full range of his or her technical abilities. / Date parution : 2022-04-26/ Répertoire / Violon et Piano

This innovative piece was completed in 1934 as part of the music for the film Night of St. Petersburg and features lyrical almost folk-like violin melodies. Dmitri Kabalevsky was one of the most important of 20th Century Russian composers and his skill demonstrated by the simple folk-like melodies and traditional musical forms at work here. Improvisation Op.21 No.1 is a stunning chamber work for Violin and Piano that will become a popular and exciting part of your repertoire.

When composing his Spanish Dances (HN 1370) the composer and violin virtuoso Sarasate united existing material folk songs and songs by well-known composers with his own uniquely charming musical language. The two Dances op.22 ?Romanza andaluza? and ?Jota Navarra? were completed in 1878 during Sarasate?s first concert tour through Scandinavia. After their initial performances the lyrical ?Romanza? soon outstripped its brilliant sister piece inpopularity and thereafter it was one of Sarasate?s compositions that he played most often himself. Since then this piece has lost nothing of its charm and it is now available as a stand-alone edition in the Henle catalogue.

22 leichte Vortragsstücke aus 5 Jahrhunderten-The edition 'Mein erstes Konzert' [My First Concert] contains 22 easy pieces for lessons first recitals or pupils' competitions. This volume takes the player on a musical journey through five epochs – from the Renaissance era via the Baroque Classical and Romantic eras to contemporary music. A special highlight is the large number of pieces of popular music including motivating pieces from the areas of pop music jazz spiritual bossa nova and tango most of which have been specially composed for this volume. Most works can be played after two years of lessons already; all pieces are in the first position and can be played in the four fingeringpatterns. To two compositions requiring position playing an easier alternative has been added. Fingerings for position playing can of course be entered in the pieces by the teacher to improve the tonal result. Learning to master the pieces is made easier by the accompanying CD which on the one hand provides the opportunity to listen to and get familiar with the pieces beforehand and on the other hand offers the opportunity to gain first experiences of ensemble playing with the help of the separately recorded Piano accompaniments.