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Best Of Grade 1 Violin, The (Book/Cd)
14.80
Best Of Grade 1 Violin, The (Book/Cd)
Violon et Piano
[Partition + CD]
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Faber Music Limited
Jessica O'Leary (Editor). Over the years, many examination pieces have captured ...
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Jessica O'Leary (Editor). Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 1 Violin pieces, including Land of the Silver Birch , Dvorák's Largo from the New World Symphony and Gershwin's Oh, Lady, Be Good . Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. A CD of performance and accompaniment tracks is included, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London. / Niveau : Facile / Recueil / Violon
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Best Of Grade 5 Violin, The (Book/Cd)
14.80
Best Of Grade 5 Violin, The (Book/Cd)
Violon et Piano
[Partition + CD]
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Facile
Faber Music Limited
Jessica O'Leary (Editor). Over the years, many examination pieces have captured ...
(+)
Jessica O'Leary (Editor). Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. This collection brings together best-loved grade 5 pieces, including Pleyel's Sonatina in B flat , Fauré's Sicilienne and Wedgwood's Survivor . Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. A CD of performance and accompaniment tracks is included, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London. / Niveau : Assez Facile / Recueil / Violon
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Sonata Movement For Violin And Piano C Minor Woo 2
14.50
Sonata Movement For Violin And Piano C Minor Woo 2
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Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
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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
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Rudolf Nelson: Essential String Method 3: Violin Ensemble: Instrumental Album
22.99
Rudolf Nelson: Essential String Method 3: Violin Ensemble: Instrumental Album
Violon et Piano
Boosey and Hawkes
This book contains all the accompaniment parts necessary for use with the Essent...
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This book contains all the accompaniment parts necessary for use with the Essential String Method Violin and Viola pupil's books 3 and 4.
22.99 GBP - vendu par Musicroom GB
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Miller: Christmas Strings: Violin 1 and 2: Violin Duet: Instrumental Album
16.99
Miller: Christmas Strings: Violin 1 and 2: Violin Duet: Instrumental Album
Violon et Piano
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Débutant
Mel Bay
With Piano Accompaniment-These books are arranged to be performed with various c...
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With Piano Accompaniment-These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known others will sound fresh and new tomost players. The pieces may be performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the pianoaccompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas Inc. If performed with full orchestra no solo parts should beplayed except the 1st violin part. Note also if you wish to perform these works with full orchestra and you are short certain instruments you still have some flexibility with the score. For example if there are not enoughviolas for balance the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas.
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Selected Pieces (Violin/Viola)
10.83
Selected Pieces (Violin/Viola)
Violon et Piano
Bosworth
Pieces by Georeg Frideric Handel, arranged by Felix Borowski for Violin/Viola an...
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Pieces by Georeg Frideric Handel, arranged by Felix Borowski for Violin/Viola and Piano. / Violon Et Piano
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Christmas Strings (MILLER DONALD)
23.42
Christmas Strings (MILLER DONALD)
Violon et Piano
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Débutant
Mel Bay
With Piano Accompaniment. Par MILLER DONALD. These books are arranged to be perf...
(+)
With Piano Accompaniment. Par MILLER DONALD. These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known, others will sound fresh and new to most players. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas, Inc. If performed with full orchestra, no solo parts should be played except the 1st violin part. Note also, if you wish to perform these works with full orchestra and you are short certain instruments, you still have some flexibility with the score. For example, if there are not enough violas for balance, the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas. / Niveau : Débutant / Christmas - Ensemble / Recueil / Violon 1 et 2 et Accompagnement Piano
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O Shenandoah! (Violin And Piano) (WATERFIELD POLLY / BEACH L)
11.40
O Shenandoah! (Violin And Piano) (WATERFIELD POLLY / BEACH L)
Violon et Piano
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Faber Music Limited
Par WATERFIELD POLLY / BEACH L.. This is a celebration of music from the time th...
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Par WATERFIELD POLLY / BEACH L.. This is a celebration of music from the time the pioneers explored the vast reaches of North America. A presentation of eleven imaginative and idiomatic arrangements for elementary Violin (Grade 1-3) with Piano. Helpful background notes help players to understand the style and spirit of the music. The book is also compatible with the Viola and Cello editions, giving an opportunity for young players to experience ensemble playing at quite an early stage. / Niveau : Assez Facile / Date parution : 2003-10-16/ Recueil / Violon et Piano
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Hector Berlioz: Rêverie Et Caprice: Violin
8.50
Hector Berlioz: Rêverie Et Caprice: Violin
English
Violon et Piano
Faber Music Limited
Following the composition of Harold En Italie for Viola and orchestra in 1834 B...
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Following the composition of Harold En Italie for Viola and orchestra in 1834 Berlioz began work on the opera Benvenuto Cellini which subsequently failed on its first performances at the Paris Opera in 1838. Berlioz withdrew the opera for substantial revision and from some of the discharged material he later fashioned this Reverie Et Caprice (in versions both for Violin and orchestra and Violin and Piano). Dedicated to Berlioz's violinist friend Alexandre-Joseph Artot the piece was quickly taken up by several celebrated violinists of the time including David Joachim and Wieniawski and was played all over Europe. This new edition for Violinand Piano by the musicologist and performer Neil Heyde is based on the first edition of the score.
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Sonatas In F Minor And E-Flat Major For Violin And Piano
34.22
Sonatas In F Minor And E-Flat Major For Violin And Piano
Violon et Piano
Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...
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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
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Sonata For Violin And Piano A Major Op. 100
16.18
Sonata For Violin And Piano A Major Op. 100
Violon et Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
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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
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Sonata For Violin And Piano D Minor Op. 108
16.18
Sonata For Violin And Piano D Minor Op. 108
Violon et Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
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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
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Sergei Rachmaninov: Morceaux De Salon Op.6: Viola: Instrumental Work
16.99
Sergei Rachmaninov: Morceaux De Salon Op.6: Viola: Instrumental Work
Violon et Piano
Boosey and Hawkes
For Violin and Piano.
16.99 GBP - vendu par Musicroom GB
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Béla Bartók: Concerto N 1: Viola
20.99
Béla Bartók: Concerto N 1: Viola
Violon et Piano
Boosey and Hawkes
Violin Piano. Bartok B
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Rêverie Et Caprice (Violin And Piano)
11.40
Rêverie Et Caprice (Violin And Piano)
Violon et Piano
Guitare classique
Faber Music Limited
Following the composition of Harold En Italie for Viola and orchestra in 1834, B...
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Following the composition of Harold En Italie for Viola and orchestra in 1834, Berlioz began work on the opera Benvenuto Cellini , which subsequently failed on its first performances at the Paris Opera in 1838. Berlioz withdrew the opera for substantial revision, and from some of the discharged material he later fashioned this Reverie Et Caprice (in versions both for Violin and orchestra and Violin and Piano). Dedicated to Berlioz's violinist friend Alexandre-Joseph Artot, the piece was quickly taken up by several celebrated violinists of the time, including David, Joachim and Wieniawski, and was played all over Europe. This new edition for Violin and Piano, by the musicologist and performer Neil Heyde, is based on the first edition of the score.
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Johann Christian Bach: Concerto en ut mineur: Violin and Accomp.: Instrumental
15.99
Johann Christian Bach: Concerto en ut mineur: Violin and Accomp.: Instrumental
Violon et Piano
-
Intermédiaire
Salabert
Henri Casadesus was passionate about early instruments, as we know from a number...
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Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d?amore, the subject of a manual he wrote entitled Tecnique de la viole d?amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called ?original? part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the ?original? version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.
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Applebaum Samuel - String Builder 1 - Violin And Piano
17.90
Applebaum Samuel - String Builder 1 - Violin And Piano
Violon et Piano
Alfred Publishing
The Belwin String Builder is a string class method in which the violin, viola, c...
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The Belwin String Builder is a string class method in which the violin, viola, cello, and bass play together throughout. Each book, however, is a complete unit and may be used separately for class or individual instruction. The material in this book is realistically graded so that only a minimum of explanatory material is required. Each melody is interesting and will provide the basis for a fine left hand technic and bow arm. Available in three levels for violin, viola, cello, bass, piano accompaniment, and teacher's manual.
17.90 EUR - vendu par Woodbrass
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Enrique Granados: Danza Espanola No.2 - Oriental: Viola: Instrumental Work
11.50
Enrique Granados: Danza Espanola No.2 - Oriental: Viola: Instrumental Work
Español
Violon et Piano
[Partition]
Unión Musical Ediciones
Enrique Granados (1867-1916) was a Spanish composer and pianist who studied in...
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Enrique Granados (1867-1916) was a Spanish composer and pianist who studied in Barcelona and Paris and whose life was tragically cut short by the First World War. The nationalist style which dominated his early output is often seen to be epitomised by the 1890 work 12 Danza Española a collection of Spanish dances originally for the solo Piano. Oriental is No. 2 from 12 Danza Española and has been transcribed here for Violin and Piano. This high quality edition comes in a marbled cover and would be a perfect gift for any violinist looking to expand their repertoire.
11.50 GBP - vendu par Musicroom GB
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Pop Romance (SCHMITZ MANFRED)
32.50
Pop Romance (SCHMITZ MANFRED)
Violon et Piano
-
Intermédiaire
AMA Verlag
Par SCHMITZ MANFRED. Have fun learning through the combination of classical play...
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Par SCHMITZ MANFRED. Have fun learning through the combination of classical playing technique and pop sound! Separated into different levels of difficulty, in both these titles you’ll find an extensive repertoire of pieces for solo instruments with piano accompaniment. Working together with experienced instrumental pedagogues, Manfred Schmitz has specifically arranged these pieces for violin, viola, cello and flute respectively. Ideal for students and teachers: all components (the piano accompaniment book, the instrumental part books and a play-along CD that contains the piano accompaniments) can all be purchased separately. / Niveau : Intermédiaire / Contemporary - Solos / Recueil / Violon et Piano
32.50 EUR - vendu par LMI-partitions
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