Composé en 1887, le 'Romantic Pieces', op. 75 ont été initialement prévu pour deux violons et alto. Immédiatement après la réalisation de ces quatre pièces courtes, Dvorák les réécrit pour violon avec accompagnement de piano et a publié la nouvelle version très années. Cette nouvelle édition présente le texte musical de la 'Complete Edition des oeuvres d'Antonín Dvorák' avec une nouvelle préface de David R. Beveridge. La partie de violon contient doigté par Josef Micka. - littérature standard pour les étudiants de violon - Nouvelle préface de Dvorák chercheur David R. Beveridge (Eng / Cz / Ger) - Violon partie avec doigté / Violon Et Piano

Référence unique par son ISBN 73999628401 cette partition musique de Dvorak Antonin n'est autre que Dvorak Four Romantic Pieces For Violin And Piano qui a été composée pour Violon Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50262840. / Violon Et Piano / 16 pages / Partition

Publié par Szenthelyi MiklósInstrument: Violon et pianoGenre: RomanticLangue: Hungarian, English, GermanPages: 18 ppDate du parution: 1985

Publié par Szenthelyi MiklósInstrument: Violon et pianoGenre: RomanticLangue: Hungarian, English, GermanPages: 14 ppDate du parution: 1984

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano

Piano Reduction Of The Well-Known Late 1845 Version. Par MENDELSSOHN-BARTHOLDY FELIX. (replaces BA 9050-90) Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano

Par NOSKOWSKI / GREIVE. Written within throughly romantic style Melody is a highly attractive example of the composers typically elegant melodic writing, strong sense of structural proportion and lush romantic harmonies. The totally idiomatic violin writing reflects ahigh degree of attainment in its composers violin studies with J. Hornziel and A. Ktski. [Tyrone Greive]./ Répertoire / Violon et Piano

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Par DIVERS AUTEURS / SARASATE. Quite early in his career, Pablo De Sarasate produced a series of fantasies on themes from popular operas for solo Violin with Orchestral, or Piano accompaniment. The appeal of the Carmen fantasy, with which this collection opens, has remained the most enduring but, perhaps reflecting the varying fortunes with audiences of the operas themselves, settings of Gounod’s Faust and Roméo et Juliette, or Weber’s Der Freischütz are ready for reappraisal today as similarly exhilarating exercises in Romantic violin technique. As an example of Sarasate ’s equally successful and more purely lyrical “salon” style of composition, his Rêverie, Op. 4 is alsoincluded here. / Classique / Répertoire / Violon et Piano

Par RAVEL MAURICE. Composed in 1924 for Violin and Luthéal, (A keyboard instrument which never gained much popularity), Tzigane demonstrated Ravel's ability to go beyond his natural Impressionist style, and write a piece which would be much better categorized as Late Romantic. First performed with the Luthéal substituted for a Piano in 1925, today the piece is accepted as either being performed with the Piano and Violin or Orchestra and Violin, Ravel himself having arranged the piece for Orchestra. / Urtext / Répertoire / Violon et Piano