First Edition. Par SCHREKER FRANZ. Débuts de compositionnels de Schreker sont encore inconnus ses oeuvres de stade rencontré un grand succès dans les années 1910 et 1920. Avec cette première publication de sa Sonate pour violon, écrit en 1898, pendant ses études au Conservatoire de Vienne, son début de la phase créatif est rendu accessible dans une oeuvre représentative pour la première fois. Schreker composé la Sonate de trois mouvements techniquement exigeante avec l'intention d'exécuter il lui-même lorsqu'il étudie le violon avec Arnold Rosé. La pièce a été écrite dans la tradition romantique fin de Brahms et de Dvorák, professeur de composition d'une ère Schreker Robert Fuchs a été commis à. Bien que Schreker respecte les conventions formelles dominantes de compositions de musique de chambre, l'élégance de l'invention mélodique et d'un raffinement harmonique distinctif est décrite par le futur maître de sons magiques dans toutes les barres./ Répertoire / Violon et Piano

Aaron Jay Kernis' Air for Violin and Piano. Available in this original version for Violin and Piano or as a transcription for Cello and Piano.

Valses Et Des Mélodies De Danse De Strauss, Millöcker, Suppé, Zeller Et D'Autres Vol. 3: Violin And Piano/ Recueil / Violon et Piano

Par PAGANINI NICCOLO. This fabulous selection comprises four of Paganini's earlier works for Violin and Piano, edited by Jean Becker. With the exception of the Moto Perpetuo Op. 11 these pieces are all composed using a 'theme and variations' structure. The colour and variety imbued within Paganini's writing for the Violin is truly inimitable, and provides the accomplished violinist with the great challenge of realising this beauty through the technical virtuosity of the writing. The solo violin part is also included on a separate insert. / Niveau : Avancé / Répertoire / Violon et Piano

Favourite Italian Melodies. Italian culture influence many art forms and perhaps none more so than music. In this album, David Brooker has arranged, for violin and piano, eleven well-known pieces that simply shout 'ITALY” at you! 'Italian Classics” includes the unforgettable 'O Sole Mio”, 'La Donna è Mobile”, 'Funiculi, Funicula” and Verdi's 'Chorus of the Hebrew Slaves”. For intermediate players, 'Italian Classics” should complement your repertoire collection just as a glass of Soave accompanies Pasta alla Carbonara. And for antipasto, try Brooker's 'Classical Favourites from Russia” for two violins. Discover the most popular Italian folk songs and opera classics as well as Giorgio Contes 'Gné Gné' Rewarding arrangements for intermediate-level players and beyond (3-6*) Straightforward accompaniments support the soloist Ideal pieces for performing, expanding the repertoire and playing just for fun/ Recueil / Violon et Piano

from The Golden Cockerel. Par RIMSKI-KORSAKOV NICOLAI. From 'The Golden Cockerel'/ Répertoire / Violon et Piano

10 Auszüge aus der Ballettmusik. Par TCHAIKOVSKI PIOTR ILITCH. / Date parution : 2022-04-09/ Répertoire / Violon et Piano

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.Bärenreiter?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 offertoday?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.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.