For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works in practice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists.

Composed and arranged by Jay Ungar and Molly Mason this beautiful romantic waltz is the title cut of their critically acclaimed CD on Angel Records. This melody has become one of their most requested tunes in concert. Perfectfor weddings this carefully prepared violin solo or duet arrangement with piano accompaniment presents the theme 3 times through beginning in G and modulating D. The piano/violin score also includes suggested guitar chords. Thearrangement accurately captures the rhythms harmonies and chord voicings of Jay and Molly's concert and recorded performances. Convenient pull-out parts are provided for the violinists. Jay Ungar is nationally recognized forhaving composed and performed Ashokan Farewell the theme of the PBS series 'The Civil War.' The Lover's Waltz is also available in a solo piano edition be Molly Mason.

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

Early Version Of 1844 And Late Version Of 1845. Par MENDELSSOHN-BARTHOLDY FELIX. Replaces BA 9050- The orchestral parts are unchanged and continue to be available as BA 9050-65/-74/-75/-79/-82/-85 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 Orchestre

Description Compilations of Violin literature appropriate for students, arranged by difficulty level. Songlist Adagio (Sonata In D Minor) [Brahms, Johannes] Air Varie No.2 [Dancla, Charles] Air Varie No.5 [Dancla, Charles] Air Varie No.6 [Dancla, Charles] Allegro (Concerto No.3 In G) [Mozart, Wolfgang Amadeus] Allegro (Sonata In D) [Leclair, Jean-Marie] Allegro Appassionato (Four Romantic Pieces Op.75) [Dvorak, Antonin] Allegro Maestoso (Four Romantic Pieces Op.75) [Dvorak, Antonin] Canzonetta (Violin Concerto In D Op.35) [Tchaikovsky, Pyotr Ilyich] Concerto No.2 In E [Bach, Johann Sebastian] Finale (Sonatina In G Op.100) [Dvorak, Antonin] La Folia Variations Serieuses [Corelli, Arcangelo] Romance In F Op.50 [Beethoven, Ludwig Van] Sonata In E Minor [Mozart, Wolfgang Amadeus] Sonata In F Op.24 (Spring) [Beethoven, Ludwig Van] Sonata No.2 In G Minor [Handel, George Frideric] Un Poco Andante (Sonata In D) [Leclair, Jean-Marie]

2-CD Set-Performed by Anna Reider violin Accompaniment: Plovdiv Philharmonic Orchestra Conductor: Nayden Todorov The great composer/virtuoso Henryk Wieniawski wrote this concerto in 1853 at the age of 18. But it reflects an astounding musical maturity. In particular this concerto features a grand theatrical air with plenty of pathos and poetry and magnificent multiple-stopping for the solo instrument. This was a common part of the repertoire until his own second concerto supplanted it. Conventional only in its form it is extremely innovative in its musical and technical materials with a beautiful and heroic main theme. The second movement a short Larghetto is a simple yetexquisite musical prayer demanding exquisite musical tone. The Rondo movement is an energetic movement filled with extremely useful exercises in wrist movement and the martelé stroke. All in all a majestic example of the Romantic concerto and a very valuable learning tool for the advancing player. Here finally in a brand new digital recording is this Romantic-era treasure for your own discovery. Includes an authoritative newly engraved music score printed on high-quality ivory paper; a digital stereo compact disc featuring a complete performance of the concerto with flute and guitar and a second performance minus you the flute soloist; and a second compact disc containing a full-speed version of the complete version as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is indexed for your practice and performance convenience.

The Library Of Romantic Music is a comprehensive collection of the greatest works of the Romantic period. Featuring composers like Frédéric Chopin, Claude Debussy and Gabriel Fauré, the works represented here truly some of the most beautiful ever composed. Now they're all in one conveniently spiral-bound volume, arranged for solo Piano for your sheer playing pleasure.Like the Baroque and Classical periods before it, Romantic music existed within a broader artistic, intellectual and literary movement. Emerging in the early 19th century it reflected a time of preoccupation with things mystical, spiritual, legendary and supernatural. This collection comprises fantastic original Piano works and beautiful arrangements from all the greatest composers of this era, including: Albéniz, Berlioz, Bizet, Brahms, Chopin, Dvorák, Debussy, Elgar, Fauré, Grieg, Mahler, Liszt, Mendelssohn, Puccini, Ravel and so many more.Spanning the 19th century, the Romantic movement was a reaction to what had come before. Music proved to be a particularly rich medium of expression for a new Zeitgeist that prized individualism and spirituality. Drawing together composers whose background was as diverse as the music they created, the period proved to be a very broad church indeed. This makes The Library Of Romantic Music particularly exciting, because the extraordinarily rich and expressive music is collected here in a single volume that is durable, convenient and is sure to be a mainstay of your music stand.For a simply stunning compendium of some incredible pieces of music composed by the masters, The Library Of Romantic Music is essential. The greatest compositions from such a fantastically rich period have been collected in this single volume, perfect for pianists looking for beautiful additions to their repertoire. / Piano

Three of the most beloved Violin concertos from the Romantic era, combined into a convenient and affordable collection.These repertoire staples belong in every violinist's music library. / Violon

Music Minus One Violin Deluxe 2-CD Set-Tchaikovsky's soaring magnificent violin concerto is one of the summits of the literature and one which every aspiring virtuoso needs to learn. Highly recommended it is truly inspiring music in the great Russian Romantic tradition. Now includes two newly remastered play-along CDs including a slower-tempo practice version. Contains a printed score and a compact disc featuring the concerto in split-channel stereo with the violinist on the right channel then again in a stereo accompaniment version minus the solo violin part. Performed by Geoffrey Applegate violin Accompaniment: Stuttgart Symphony Orchestra Conductor: Emil Kahn

for Violin and Piano-For Violin and Piano.Although my Violin sonata is an abstract piece its main dramatic conflict can be described as the struggle between restraint and uncontrolled rage. The piece is based on a single lyrical melody which is reminiscent of the late romantic style - although it is never presented in a traditional manner. The piece begins quietly like a singer trying to sing but caught up in her own tears. At a crucial point in the piece the restrained silence is broken unleashing a savage presto. The piece then returns to the unspoken restraint of the opening. — Avner Dorman