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.

Par ALLERME JEAN-MARC. 15 pièces originales dans les styles jazzy, classique et variété. L'enregistrement sur CD propose une version violon et piano et une version piano seul pour jouer en play-back. / variété - jazz / Recueil / Violon et Piano

Scott Joplin est incontestablement le maître du ragtime et est aujourd'huiprobablement le plus connu de tous les compositeurs de jazz. Ses guenilles accrocheur ontété utilisé à travers le monde comme des airs thème et pour la télévisionavec de nombreuses annonces étant immédiatement reconnaissable. Cet album contientsix de ses plus chiffons dont The Entertainer, Maple Leaf Raget le chrysanthème. Un livre piano, l'accompagnement est séparéedisponibles pour les concerts. / Violon Et Piano / 36 pages / Partition Cd

Play Showtime Book 1 presents hits from some of the greatest shows of all time, arranged for solo violin with piano accompaniment. Contents include Memory from Cats, Maria from West Side Story and On My Own from Les Miserables.  / Instrumental Music / Recueil / Violon et Piano

Introduktion und Variationen D802. Par SCHUBERT FRANZ. Originally for flute and piano, Schubert's reworking of 'Trockne Blumen' - the eighteenth song in his song cycle Die schöne Müllerin - is here adapted for the violin. It was quite common in Schubert's own time for composers to write works 'for flute or violin' and in keeping with this practice, violinist Jacqueline Ross has prepared this edition, along with notes on the musical background and critical commentary on the violin editing. Her research into 18th and early 19th century performance practice has been widely recognised and has influenced her recordings of baroque and classical repertoire. This includes the Naxos release of the complete works of Schubert, recorded on historical instruments, in which this adaptation of 'Trockne Blumen' is featured. Violinists will welcome this adaptation intended primarily for performers, as a vibrant and substantial addition to the repertoire. o Originally for flute and piano, Schubert's reworking of 'Trockne Blumen', the eighteenth song in his song cycle 'Die schöne Müllerin', is here adapted for the violin by Jacqueline Ross o Notes on the musical background and critical commentary on the violin editing are included o A vibrant and substantial addition to the repertoire/ Répertoire / Violon et Piano

Take the lead and enjoy playing along to your favourite TV tracks. The book contains carefully selected and edited top line arrangements and chord symbols. The CD contains full backing tracks professionally arranged and recorded, and full demonstration tracks to help you learn the pieces. Take The Lead is an integrated series. In each edition all the songs are in the same concert pitch key, so the different instruments can play together. Suitable for intermediate players. / TV, Film, Comédie musicale / Date parution : 2005-05-27/ Recueil / Violon et Piano

Par KEYSER PAUL DE. With Violin Playtime the beginner Violinist can make music from the very first lessons. In the three books that make up the series, there are over 100 little pieces - a treasure trove of attractive tunes - some traditional, some well known, some newly composed. The underlying approach is 'learn as you play' and a carefully devised groundplan of technical development makes it a manual in disguise - a tutor without text. Suitable for Beginner to Grade 1. / Niveau : Facile / Recueil / Violon et Piano

Par HUMMEL BERTOLD. As an educational and recital piece, Bertold Hummel's Sonatina Op. 35, composed in 1969, has accompanied many a young musician following his or her own path. Having sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. The three movements are characterized by warmth and exciting rhythms: in the powerful Maestoso, the sonority of the main theme is contrasted with a lyrical side theme - the recapitulation ends with an impulsive Fugato. The second movement Elegie consists of a single soulful melody over spherical harmonies of the piano. As a highlight, playful ease, marching rhythms and dramatic intensifications alternate in quick succession in the Finale vivace, followed by wild arpeggios that conclude the piece. Originally composed for violin, versions for viola and violoncello were already commonly used. To mark its 50th birthday, Simrock / Boosey and Hawkes present the work in a revised, newly set edition. Written in the 1990s by the composer himself and now available for the first time, the versions for alto and tenor saxophone are valuable additions to the repertoire for beginning instrumentalists./ Répertoire / Violon et Piano