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Aulis Sallinen: String Quartet No. 6 Op. 103: String Quartet: Score and Parts
39.99
Aulis Sallinen: String Quartet No. 6 Op. 103: String Quartet: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Novello & Co Ltd.
Aulis Sallinen’s String Quartet No 6 was commissioned by the Kimito Islan...
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Aulis Sallinen’s String Quartet No 6 was commissioned by the Kimito Island Music Festival. The first performance took place on 8th of July 2014 in Kimito Church the opening concert in the Kimito Island Music Festival 2014.The performers were:Katinka Korkeala and Sonja Korkeala - ViolinsHariolf Schlichtig - ViolaSamuli Peltonen - Cello
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Søren Nils Eichberg: Recitare: Violin: Instrumental Work
Violon
[Partition]
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Intermédiaire
Wilhelm Hansen
Recitare for Violin solo by Søren Nils Eichberg was commissioned by Universitä...
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Recitare for Violin solo by Søren Nils Eichberg was commissioned by Universität der Künste Berlin for The International Max Rostal Competition for Violin and Viola 2015.
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Richard Dubugnon: Violiana: Piano Trio: Score and Parts
Piano Trio: piano, violon, violoncelle
[Partition]
Peters
Richard Dubugnon's Violiana for Violin and Viola and Piano. Commissioned by Juli...
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Richard Dubugnon's Violiana for Violin and Viola and Piano. Commissioned by Julian Rachlin and the Musée du Louvre Paris First performance: Festival Julian Rachlin and Friends Dubrovnik Croatia on 1st September 2011
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Dimitri Shostakovich: Romance For Viola: Viola: Instrumental Work
VLA/PFA::Viola, Piano Accompaniment
[Partition]
S J Music
Sue Otty's arrangement for Violin and Piano of Romance from Dmitri Shostakovich&...
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Sue Otty's arrangement for Violin and Piano of Romance from Dmitri Shostakovich’s suite The Gadfly.
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String Companions Volume 1: Violin Duet: Instrumental Album
7.50
String Companions Volume 1: Violin Duet: Instrumental Album
Violon
Rubank Publications
For Violin and Viola Duet-Song List: * Air Varie (Pleyel) * Albumleaf (Hoh...
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For Violin and Viola Duet-Song List: * Air Varie (Pleyel) * Albumleaf (Hohmann) * Allegro De Concert (Gebauer) * Au Printemps (Viotti) * Bagatelle (Wichtl) * Burleske (Tours) * Caprice-Elegante (Henning) * Chanson Bohemienne (Kalliwoda) * Danse Ecossais (Wichtl) * Divertimento In D (Sitt) * Duo De Concours (Wohlfahrt) * Duo De La Syncope (Alard) * Duo-Caprice (Bruni) * Edelweiss (Eichberg) * Episode (Eichberg) * Etude De Concert (Spohr) * Fete Triumphant (Tours) * Le Papillon (Mazas) * Marche-Processionnel (Dancla) * Menuet & Trio (Pleyel) * Menuet (1st Duo) Pleyel * Morceau De Salon (Ries) * Poeme D'amour (De Beriot) *Rondo (Duo In D) Mazas * Scene De Danse (Kalliwoda) * Silhouette (Jansa) * Tarantella (Campagnoli) * Wellenspiel (L.Schubert)
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Concerto For Violin And Orchestra C Major Hob. VIIa:4
6.38
Concerto For Violin And Orchestra C Major Hob. VIIa:4
Alto seul
Barenreiter
In this Concerto in C major the soloist is accompanied purely by a string orches...
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In this Concerto in C major the soloist is accompanied purely by a string orchestra, a scoring which can be mastered easily, even by amateur ensembles.Continuing Bärenreiter's collaboration with the Henle publishing company in the areas of large vocal compositions, operas and symphonic works, the edition of this violin concerto is based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete London and Paris symphonies as well as several 'Sturm und Drang? symphonies are already available. All works appear with a full score and performance material on sale in a large format.- Urtext from the Henle Complete Edition of the 'Works of Joseph Haydn?- Charming violin concerto where the accompaniment can be also be mastered by amateurs / Alto
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Minuetto e Trio per violino e viola (PAGANINI NICCOLO)
6.40
Minuetto e Trio per violino e viola (PAGANINI NICCOLO)
Violon, Alto (duo)
[Partition]
Ricordi
A cura di Italo Vescovo. Par PAGANINI NICCOLO. Nicolò Paganini?s Minuetto e Tri...
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A cura di Italo Vescovo. Par PAGANINI NICCOLO. Nicolò Paganini?s Minuetto e Trio in F sharp major for violin and viola - the autograph manuscript of which is preserved in the Biblioteca Casanatense in Rome - is, together with his Sonata a violino e viola (M.S. 108), one of the rare pieces the Genoese composer wrote for this particular ensemble. In addition to expanding Paganini?s treasured catalogue, its rediscovery could provide scholars with new insights into the famed virtuoso?s chamber music output. / Date parution : 2022-04-26/ Répertoire / Violon et Alto
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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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VII Suonate A Due, Violino E Viola Da Gamba Con Cembalo. 1696
45.70
VII Suonate A Due, Violino E Viola Da Gamba Con Cembalo. 1696
Violon Et Instruments Divers (Avec Viole Et Basse Continue)
Anne Fuzeau Productions
Edition : Opera secunda, Lubeca, 1696.Présentation de Marie-Françoise Bloch : ...
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Edition : Opera secunda, Lubeca, 1696.Présentation de Marie-Françoise Bloch : Corrections et suggestions.Fac-similé de l'édition originale en parties séparées : violino - viola da gamba - cembalo.C'est une musique de grande qualité, qui s'inscrit dans la tradition des sonates en trio allemandes, dans lesquelles les deux parties de dessus sont jouées par un violon et une viole de gambe - il faut un clavecin et une seconde viole pour exécuter la basse continue.Fac-similé de l'exemplaire de la Bibliothèque de l'Université d'Uppsala. Second volume des trios de Buxtehude. / Violon Et Instruments Divers (Avec Viole Et Basse Continue) / 124 pages / niveau : 1 / Fac-Similés - Format: 24 X 33
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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.
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Romance, Elegy And Prelude
27.74
Romance, Elegy And Prelude
Quatuor à cordes : 4 altos
Boosey and Hawkes
Arrangements for string quartet of Romance for string orchestra, op 11 (1928), E...
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Arrangements for string quartet of Romance for string orchestra, op 11 (1928), Elegy for violin and piano, op 22 (1940), and Prelude for string orchestra, op 25 (1940s). Romance (8 mins) was first performed in 2009 by the Finzi Quartet at London's Wigmore Hall, and has been recorded by them on Resonus Classics RES 10109. Elegy (9 mins) and Prelude (5 mins) were first performed in 2014 by the Marilla Quartet at Downe House School, Berkshire, UK. The arrangements are presented as three separate works and form an attractive addition to the string quartet repertory.Difficulty:Prelude: intermediateRomance and Elegy:intermediate/advanced. / Quatuor De Cordes
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Romance, Elegy And Prelude
14.51
Romance, Elegy And Prelude
Quatuor à cordes : 4 altos
Boosey and Hawkes
Arrangements for string quartet of 'Romance for string orchestra, op 11' (1928),...
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Arrangements for string quartet of 'Romance for string orchestra, op 11' (1928), 'Elegy for violin and piano, op 22' (1940), and 'Prelude for string orchestra, op 25' (1940s). 'Romance' (8 mins) was first performed in 2009 by the Finzi Quartet at London's Wigmore Hall, and has been recorded by them on Resonus Classics RES 10109. 'Elegy' (9 mins) and 'Prelude' (5 mins) were first performed in 2014 by the Marilla Quartet at Downe House School, Berkshire, UK. The arrangements are presented as three separate works and form an attractive addition to the string quartet repertory.Difficulty:Prelude: intermediateRomance and Elegy:intermediate/advanced. / Quatuor De Cordes
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William McConnell: Rhythm Of The Mills The: Violin Duet: Instrumental Album
10.95
William McConnell: Rhythm Of The Mills The: Violin Duet: Instrumental Album
2 Violons et Basse continue
[Conducteur et Parties séparées]
Spartan Press
Clog Dances Fom The Lanca-Clog Dances from the Lancashire Cotton Mills arranged...
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Clog Dances Fom The Lanca-Clog Dances from the Lancashire Cotton Mills arranged for Two Violins (or Violin & Viola) with optional Cello. Clog dancing originated in the North of England over 200 years ago. It is thought to have developed in the Lancashire Cotton Mills where wooden-soled clogs were preferred to leather soles because the floors were kept wet to help keep the humidity high an important feature in cotton spinning as the nails in leather soles could cause sparks which could result in the risk of explosion.The Clog dance steps were inspired by the rhythmic sounds of the textile machinery and it is said to have first been danced by girls working in the cotton mills. Theywould beat out a rhythm with their wooden clogs to keep in time with the shuttle flying backwards and forwards across the loom. They would also sing choruses whilst stepping to the rhythm of their machines.There were a variety of machines in the many mills of the Midlands and North West each machine built for a specific function. There were many rhythms and as the girls clog danced it is said that those watching the dancers could tell which machines they worked at and from which mill.Clog dancers were also a common sight not only at the mill's lunch breaks but also at competitions in towns and in Music Halls throughout the 19^th and 20th centuries.
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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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Béla Bartók: Concerto N 1: Viola
20.99
Béla Bartók: Concerto N 1: Viola
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Boosey and Hawkes
Violin Piano. Bartok B
20.99 GBP - vendu par Musicroom GB
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Fiser Lubos - Variations On An Unknown Theme - For String Quartet
26.40
Fiser Lubos - Variations On An Unknown Theme - For String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
Barenreiter
Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music i...
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Lubo? Fi?er (1935?1999) was one of the most distinctive figures of Czech music in the 20th century and composed the Variations on an Unknown Theme in 1976. The ?unknown theme? was a prankish eight-bar theme from Fi?er?s student days. In the elation following the home-team win over Canada on 15 March 1959, he made a bet with his colleague Kalach to compose a concert piece for violin and orchestra with the working title ?Canada-Rondo?. The whimsical contest was abandoned, but Fi?er did not forget the theme and he later created variations on it for his new composition for the Talich Quartet. The Variations on an Unknown Theme have now been published for the first time ever. This edition is based on the autograph of the score which is housed in the Czech Museum of Music in Prague.
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