Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

for violin/viola/clarinet and pianopartition et partiesTranscrit par Kraszna László, Jánosi SándorInstrument: Violon et pianoGenre: Pedagogical performance piecesLangue: Hungarian, English, German, FrenchPages: 20 ppDate du parution: Juillet 2000

Par SATIE ERIK. 3 Gymnopédies by Erik Satie, arranged by Roger Nichols for Violin and Piano, Flute and Piano or Clarinet and Piano. / Nichols / Répertoire / Violon et Piano

Easy Popular Movie Instrumental Solos is an accessible selection of movie hits for the beginning student, with simple notation and a play-along CD. Available for flute, clarinet, alto saxophone, tenor saxophone, trumpet, horn in F, trombone, violin, viola, cello and piano accompaniment. The string versions include a pullout piano accompaniment. / Violon Et Accompagnement Piano

for violin or viola or clarinet with piano accomp.Op. 40Instrument: Different Soloinstruments and PianoInstrumentation: vl v. vla v. cl, pfGenre: 20th Century MusicLangue: Hungarian, GermanPages: 20 ppDate du parution: 1951

with marked and unmarked string part. Par TCHAIKOVSKI PIOTR ILITCH. Le lieu cher auquel se réfère le titre de ce recueil de trois charmants morceaux pour violon et piano est Braïlov, propriété de la mécène et amie de Tchaïkovski Nadejda von Meck. C’est là que le compositeur passe le mois de mai 1878 et termine sa partition dans un isolement idyllique. Composé quasiment en même temps que son concerto pour violon, Souvenir d’un lieu cher témoigne aussi de son incomparable talent pour la mélodie romantique. Le spécialiste russe de Tchaïkovski Alexander Komarov, qui s’est chargé de préparer cette édition de la plus grande qualité, a consulté toutes les sources de l’oeuvre dans les archives russes et étrangères. Il a pu à cette occasion égalementréfuter clairement la thèse en cours selon laquelle le titre Souvenir d’un lieu cher n’aurait été ajouté qu’après la mort du compositeur. / Komarov, Alexander / Répertoire / Violon et Piano

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar.'Take the Lead Latin' features idiomatic arrangements of Latin classics offering fun repertoire that young instrumentalists will love to play. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.Contents: Bailamos; Cherry Pink And Apple Blossom White; Guantanamera; La Bamba; La Isla Bonita; Livin' La Vida Loca; Oye Mi Canto (Hear My Voice); Soul Limbo