2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk 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 Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 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 PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.

8 Easy To Intermediate Play-Alongs Of Well-Known Pieces From Ireland, Scotland, Wales, Cornwall And Brittany. Par DIVERS AUTEURS (ARR.MARTIN TOURISH). Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic” presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal”, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic” is available in four formats, each with complete recordings and backing tracks on CD: as solo versions for violin, flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán. / Niveau : Facile / Recueil / Violon et Piano

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

These two collections (BA 9668, BA 9669) give young students and teachers a rich selection of recital pieces, either to complement the Sassmannshaus 'Early Start on the Violin? method or to play independently from it. As all the pieces are written entirely in first position, they can be used after just a few months of lessons.The piano part may be played by the teacher or an advanced student. As an alternative, the accompaniment can be played by a second violin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes, folksongs but also less well-known gems, as well as original pieces by the editors, all precisely tailored to meet the needs of young students.- New recital pieces for the tried and trusted Sassmannshaus violin method- All pieces written in first position- With a second violin part for duet performance- Available in freely accessible recordings on YouTubeKurt Sassmannshaus, the editor of a great many string editions in the Bärenreiter catalogue, continues the tradition founded by his father Egon Sassmannshaus in the 'Early Start? string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the cello. / Violon

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

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 SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: Influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.1 was incorporated into the repertoire of numerous late 19th-century violinists soon after it was written. It was also this sonata which inspired Marcel Proust when he wrote about the fictional sonata by the composer Vinteuil in his novel ?À la recherche du temps perdu?. This performing edition edited by Fabien Guilloux and François de Médicis is based on the musical text from ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4 in which Saint-Saëns? lengthy corrections of the Durand first edition as well as the autograph sources have been meticulously evaluated. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-29/ Répertoire / Violon et Piano

Christmas fiddlers can draw on a rich and varied repertoire. This collection spans seven centuries, from the boisterous medieval Song of the Ass to contemporary tunes like Sleigh ride, taking in such traditional carols as Away in a manger and O little town of Bethlehem along the way. There is music in The Christmas Fiddler from England, Wales, France, Germany and North America.Of course Christmas time is not only a religious festival. Much of the music here - the Welsh carol Deck the hall, the 'fireside' movement from The Four Seaons, the modern classic Chestnuts roasting on an open fire - is as much a celebration of the ancient secular festival of the Winter Solstice.The arrangements in this collection can be performed as solos or duets, or by larger ensembles. The keyboard accompaniments are there for a multitude of purposes, from concert performances to playing at home- and the violin accompaniments will be invaluable for those Christmas busking sessions.The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club, Sarajevo street-café or Gypsy gathering. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. Each title in the series is available in two formats: the violin edition (with an optional easy violin part and guitar chord)- or the complete edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance. And to help recreate the spirit of the music, every book in the series is beautifully illustrated. / Violon Et Guitare