Matériel : Part|Score
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-editio n.com.
SKU: CA.1121311
ISBN 9790007191481. Key: F major. Language: all languages.
Peter Thalheimer presents a concertino for recorder unknown until now. The concertino by Giuseppe Tartini is of the genre Concerto da camera and is of comparable musical quality to corresponding works by A. Scarlatti and A. Vivaldi. Score and part available separately - see item CA.1121300.
SKU: CA.1121313
ISBN 9790007191504. Key: F major. Language: all languages.
SKU: CA.1121312
ISBN 9790007191498. Key: F major. Language: all languages.
SKU: BR.PB-33001
ISBN 9790004215821. 10 x 12.5 inches.
The present Concertino in E-flat major, Op. 5, was composed especially for the Leipzig trombone virtuoso Carl Traugott Queisser (1800-1846), to whom the work is also dedicated. The Concertino was first reviewed by the critic Gottfried Wilhelm Fink (1783-1846) in the Leipzig Allgemeine Musikalische Zeitung (AMZ), issue no. 38, September 1832. The critic discussed the work in detail, calling it a milestone of the trombone literature, ... its public performance should thus be determined by only true masters. The rest, however, may wish to utilize it, in silence, that is not overheard by expectant listeners, to strive with it to strengthen their powers....The Concertino's premiere can be dated to 1828, with Queisser himself as soloist, and the composer conducting. Queisser repeatedly performed the Concertino up to 1843. The work was published under catalogue number 5227 in 1832 by Breitkopf & Hartel. Sometime in the 1940s the work was lost to sight and no performances known to come from then. Together with the Concertino, Op. 4, later composed by Ferdinand David, Muller's contribution to this genre is among the most often played and most demanding of the trombone literature. The score includes, besides a preface detailing the work's genesis and reception history, also facsimile pages to round out the edition. You may browse our piano vocal score here.
SKU: BR.EB-33001
ISBN 9790004186800. 9 x 12 inches.
The present Concertino in E-flat major , Op. 5, was composed especially for the Leipzig trombone virtuoso Carl Traugott Queisser (1800-1846), to whom the work is also dedicated. The Concertino was first reviewed by the critic Gottfried Wilhelm Fink (1783-1846) in the Leipzig Allgemeine Musikalische Zeitung (AMZ), issue no. 38, September 1832. The critic discussed the work in detail, calling it a milestone of the trombone literature, ... its public performance should thus be determined by only true masters. The rest, however, may wish to utilize it, in silence, that is not overheard by expectant listeners, to strive with it to strengthen their powers.... The Concertino 's premiere can be dated to 1828, with Queisser himself as soloist, and the composer conducting. Queisser repeatedly performed the Concertino up to 1843. The work was published under catalogue number 5227 in 1832 by Breitkopf & Hartel. Sometime in the 1940s the work was lost to sight and no performances known to come from then. Together with the Concertino , Op. 4, later composed by Ferdinand David, Muller's contribution to this genre is among the most often played and most demanding of the trombone literature. The score includes, besides a preface detailing the work's genesis and reception history, also facsimile pages to round out the edition. You may browse our piano vocal score here.
SKU: HL.44005643
UPC: 884088041137. 9x12 inches. International (more than one language).
Concerti no No. 1 in F major for cello and piano. In The Platinum Series this excellent piece has been published in an edition for clarinet. On the CD that comes with the book you will first hear the piano accompaniment alone, followed by the demo version with both clarinet and piano. It is of course more instructive and enjoyable to play with a live accompanist if you can, using the piano part that is also included. This piece is a great addition to the clarinet repertoire!Een van de bekendste werken van Jean-Baptiste Breval is het Concertino No. 1 in F major voor cello en piano. Dit is voor The Platinum Series speciaal voor de klarinet bewerkt. Op de fantastische cd zijn eerst de pianobegeleidingente horen en vervolgens de schitterende demoversies - met klarinet en een live ingespeelde piano. Natuurlijk is het nog leerzamer en aangenamer om echt samen met een pianist te musiceren. Een aanwinst voor het klarinetrepetoire!Das ursprunglich fur Cello und Klavier geschriebene Concertino Nr. 1 in F-Dur des franzosischen Komponisten Jean-Baptiste Breval. Das dreiteilige Werk setzt sich aus einem lebhaften Allegro, einem lyrischen, majestatischen Mittelteil und einem resoluten Allegretto zusammen. Anstelle des Pianisten kann auch zur beiliegenden CD gespielt werden, auf der neben der Begleitung auch eine vollstandige Demoversion zu horen ist.Die Reihe The Platinum Series enthalt bekannte klassische Werke fur verschiedene Instrumente, die nun verschiedenen Holzblasern zuganglich gemacht wurden und sich in ihrer neuen Form wunderbar als Konzertstucke eignen. Die CDs derPlatinum Series bieten Ihnen die Gelegenheit, zu einer schonen Begleitung, die live mit Klavier, Cembalo, Kammerensemble oder gar Sinfonieorchester eingespielt wurde, zu spielen. Auf der CD erklingen jeweils alle Begleitungen und Demo-Versionen. Die Stucke mit Basso continuo, der auf dem Klavier oder Cembalogespielt werden kann, enthalten jeweils eine separate Solo- und Cellostimme, sodass sie auch von einem Ensemble aufgefuhrt werden konnen. Alle sechs Ausgaben sind im Schwierigkeitsgrad mittelschwer - schwer. La collection Platinum Series rassemble des œuvres classiques composees a l'origine pour divers instrument et idealement adaptees pour des instruments a vent de la famille des bois. Chaque ouvrage de cette collection est enrichi d'un compact disc (version integrale + accompagnement) d'une grande qualite musicale. Pour vous offrir un excellent confort de jeu, les accompagnements ont ete confies au piano, au clavecin, a un ensemble de musique de chambre et quelquefois meme a un Orchestre Symphonique. Les oeuvres avec basse continue (adaptee pour le piano ou le clavecin) disposent d'une partie soliste et d'une partie pour violoncelle separees afin de pouvoir constituer unensemble instrumental. La collezione The Platinum Series e sinonimo di alta qualita. Troverete le piu importanti pagine di musica trascritte per strumenti a fiato. Sul CD sono registrati dapprima l'intero brano col solista, e poi le sole basi musicali d'accompagnamento, realizzate con strumenti autentici che realizzano il basso continuo al clavicembalo. Da oggi potrete interpretare col saxofono le musiche di grandi compositori come Benedetto Marcello, oppure suonare al clarinetto la trascrizione del Concerto n.1 di Breval per violoncello. Per le composizioni da suonare in duo, troverete sul CD sia l'incisione completa del brano, che la sola seconda voce o il solo Basso continuo, cosi da potersuonare sia da soli che assieme ad un vostro amico.
SKU: PR.114417250
ISBN 9781491110928. UPC: 680160631469. 9x12 inches. Key: F.
Concertino in F for English Horn and OrchestraPreviously known only through a spurious edition in G Major, the authentic Concertino in F was recently discovered in Italy by Pedro Diaz, English Hornist of the Metropolitan Opera Orchestra. Diaz prepared this ground-breaking authentic edition through comparison of the multiple historical sources and an intimate knowledge of Donizetti's works. The new edition in F Major is embellished with footnotes regarding sources and ornamentation. The piano reduction and orchestral score and parts (available on rental) were prepared by composer/oboist Mark Biggam in tandem with Diaz's work, and the publication includes extensive historical notes by scholar Michael Finkelman. PEDRO DIAZ joined The Metropolitan Opera Orchestra in 2005 and has performed as solo English Hornist in hundreds of productions. As a sought after teacher, Mr. DÃaz has lectured extensively at top music conservatories including The Juilliard School, The Manhattan School of Music, The Eastman School of Music,The Hartt Music School, and Duquesne University. His international appearances include masterclasses in Panama, Italy, Mexico, Canada, Puerto Rico, Leipzig, Berlin, and Italy.A native of Puerto Rico, he received his early musical training in the “Escuela Libre de Musica,†an esteemed public school for the performing arts. He has performed as a guest artist with the Chicago Symphony, New York Philharmonic, and many other leading ensembles. His playing has been hailed by critics as evocative, eloquent and expressive and is considered one of the pre-eminent players of his generation. Mr. DÃaz has performed Wagner’s Tristan und Isolde 24 times under the batons of James Levine, Daniel Barenboim, and Sir Simon Rattle.Pedro DÃaz’s recording of the Donizetti Concertino in F and other concerti is available from Fox Products and online sources, performed with members of the Metropolitan Opera Orchestra. MARK BIGGAM’s compositions have been recognized in various venues throughout the United States, Central America, Asia, and Europe. He has received awards from ASCAP and the Cleveland Foundation. An oboist himself, many of Biggam’s compositions have been performed by notable oboists and English Horn players including John Mack, Joseph Robinson, Pedro DÃaz, Carolyn Hove, and Dwight Parry. Premieres of his works have been featured at events including the International Double Reed Society and John Mack Legacy Camp.Biggam’s choral works have gained recognition, awards, and commissions from organizations including the Moravian Music Foundation, Ohio BoyChoir, and Triad Pride Men’s Chorus. He also has published arrangements and piano reductions of J.S. Bach’s music for Bärenreiter-Verlag. His collaborations with Pedro DÃaz include the Donizetti Concertino in F as well as works of the lesser-known composers Pilotti and Mares, recorded by Mr. Diaz and members of the Metropolitan Opera Orchestra. Biggam has alsoprepared arrangements and settings of works for symphonic band, which have been performed by the Piedmont Wind Symphony.
SKU: CA.1121300
ISBN 9790007026219. Key: F major. Language: all languages.
Peter Thalheimer presents a concertino for recorder unknown until now. The concertino by Giuseppe Tartini is of the genre Concerto da camera and is of comparable musical quality to corresponding works by A. Scarlatti and A. Vivaldi.
SKU: BT.DOW-07505-400
ISBN 9789043147538. English-German-French.
The Concertino Op. 26 in E-flat Major by Carl Maria von Weber belongs to the standard repertoire of every clarinettist. This edition allows the player to work through the piece systematically with the CD at 3 different practice tempi withaccompaniment, including a full concert version as well. We hope you enjoy playing from our DOWANI 3 Tempi Play Along editions!Het Concertino opus 26 in Es majeur van Carl Maria von Weber behoort tot het standaardrepertoire van iedere klarinettist. Deze uitgave geeft de leerling de mogelijkheid dit werk systematisch in te studeren met behulp van de cd, die drie verschillendeoefentempi met begeleiding omvat, evenals een volledige demoversie. We hopen dat je met veel plezier zult spelen uit onze DOWANI 3 Tempi Play Along-uitgaven!Da s Concertino in Es-Dur op. 26, von Carl Maria von Weber gehört zum Standardrepertoire jedes Klarinettisten. Die vorliegende Ausgabe bietet die Möglichkeit, das Werk systematisch und in drei verschiedenen Tempi mit CD-Begleitung zu erarbeiten.Außerdem beinhaltet die CD eine Konzertversion. Wir wünschen Ihnen viel Spaß beim Musizieren mit unseren DOWANI 3 Tempi Play Along-Ausgaben!Le Concertino Op.26 en mi bémol Majeur de Carl Maria von Weber fait partie du répertoire de chaque clarinettiste. Cette édition permet au musicien de travailler systématiquement le morceau avec CD, sur trois tempos d’entraînement différents, quiinclut aussi une version de concert. Nous espérons que vous prendrez du plaisir jouer nos éditions « DOWANI 3 Tempi Play Along » !
SKU: BT.DHP-1115233-400
ISBN 9789043136204. 9x12 inches. English-German-French-Dut ch.
The Concertino op. 12 by the German violinist, composer and violin educator Ferdinand Küchler (1867-1937) is a three-movement work that is ideal for the development of playing in first and third position. The first movement is both powerful and playful in character, and its themes that follow on from each other rapidly, producing a concise sonata form. The second movement has been written in a three-part song form (A-B-A). The A section has a cantabile atmosphere, whereas section B is more dramatic. The third movement is a rondo (with a refrain and episodes). The refrain is joyful in spirit, and the episodes present variation.Het Concertino op. 12 van Ferdinand Küchler (1867-1937) is een driedelig werk. Voor de leerling is dit het ideale werk om aan de eerste en derde positie te werken. Het eerste deel is krachtig en speels tegelijk. Het tweededeel is in de vorm van een driedelige lied geschreven (A-B-A). Het derde deel is een rondo.Das Concertino op. 12 von Ferdinand Küchler (1867-1937) ist ein dreisätziges Werk, mit dem Schüler ausgezeichnet an ihrem Spiel in der ersten und dritten Lage arbeiten können. Der erste Satz ist kraftvoll und verspielt zugleich; der zweite Satz wurde in der Form eines dreistimmigen Liedes geschrieben (A-B-A). Der dritte Satz ist ein Rondo. Le Concertino opus 12 de Ferdinand Küchler (1867-1937) est un Å?uvre en trois mouvements, destinées aux élèves maîtrisant le jeu en première et troisième position. Le premier mouvement est puissant et ludique, le deuxième a été écrit sous la forme d'une mélodie en trois parties (ABA). Le troisième mouvement est un rondo. Il Concertino op. 12 di Ferdinand Küchler (1867-1937) è un brano in tre movimenti, ideale per praticare la prima e terza posizione. Il primo movimento è al contempo potente e gioioso, il secondo in forma di un canto a voci (A-B-A), mentre il terzo movimento è un rondò.
SKU: HL.49045441
ISBN 9790001161794. UPC: 841886028593. 9.25x12.0x0.082 inches. German - English - French.
Ferdinand Kuchler is regarded as one of the great violin teachers of the 20th century, not least because of his violin method. His Concertino in G major Op. 11 still is a popular entry-level piece of concert literature even in today's violin lessons.Apart from the edition in the original instrumentation for violin and piano (SE 1001), this arrangement follows the title 'Concertino' and allows for early playing with string accompaniment - with string quartet and double-bass ad libitum or scored for multiple parts with string orchestra. Further individual orchestral parts are available for download at www.notafina.de. As an alternative to the viola part, a part for a third violin is notated as well.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons.
SKU: AP.36-A793402
UPC: 659359748073. English.
The six CONCERTI ARMONICI was long thought to be the work of the violinist-impresario Carlo Ricciotti or composer Giovanni Battista Pergolesi, but more recent research has revealed the composer to be Unico Wilhelm van Wassenauer (1692-1766). Born into a wealthy Dutch family, the diplomat and composer founded a Collegium musicum in The Hague under the oversight of Ricciotti. Composed between 1725 and 1740, the six concertos have been falsely attributed to a variety of contemporaries, Ricciotti and Pergolesi amongst them, since its anonymous publication. Wassenauer's aristocratic background was the reason for his secretiveness. The sentiment of the time ordained that musicians belong to the lower classes. This edition of CONCERTINO No. 2 (also CONCERTO ARMONICO in G Major, CONCERTO IV, or just CONCERTINO in G), drawing from the CONCERTO ARMONICO in G Major, IUW 3, was edited by 20th century Baroque expert Fritz Rikko. Rikko spuriously attributes the work to Pergolesi. Despite Wassenauer's authorship having since been confirmed, Rikko's original editorial notes have been retained. Instrumentation: Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A793401
ISBN 9798892704922. UPC: 659359746130. English.
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: CY.CC2357
John Frith's new composition, Concertino for Bass Trombone & Wind Ensemble is a major new work for Bass Trombone in three movements: Humoresque, Ballad and Scherzo. Mr. Frith lives in the UK has written this work for UK Bass Trombone virtuoso, Jonathan Warburton.
SKU: BT.DHP-1084518-400
ISBN 9789043130240. 340 X 250 inches. English-German-French-Dut ch.
Op subtiele wijze reikt Millies in dit eenvoudige concertino de vernuftige structuren van de meester aan, hij verweeft veelvuldig kenmerkende drieklank- en toonladderloopjes. De muziek is speelbaar in de eerste positie, daarbij iser veel aandacht voor frasering en boogtechnieken. De mooie pianobegeleiding maakt dit stuk bijzonder geschikt voor een uitvoering.Deze boeken zijn gemaakt binnen het Study and Play-concept, dat de leerling helpt om zijn/haarspel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer worden één of twee cdâ??s meegeleverd die iets extraâ??s toevoegen aan de studie-methode. In het geval van de onderstaande uitgaven biedende cdâ??s de mogelijkheid om te studeren in zowel het gewone tempo als een rustig oefentempo. De verzorgde set bestaat verder steeds uit een vioolpartij en pianopartij. De cd bevat tevens de begeleiding, waardoor een pianist nietbeslist noodzakelijk is.Hans Millies (1883-1957) war ein bekannter deutscher Geiger und Dozent, der die Ansicht vertrat, dass Schüler schon von klein an mit dem Klangidiom von groÃ?en Komponisten wie Wolfgang Amadeus Mozart vertraut gemacht werden sollten. Im vorliegenden schlichten Concertino präsentiert Millies geschickt die genialen Strukturen des Meisterkomponisten. Die Musik ist in der ersten Lage spielbar; ein Hauptaugenmerk liegt auf Phrasierung und Bogentechniken. Dank der reizvollen Klavierbegleitungen ist dieses Stück wie geschaffen zur Aufführung.
SKU: BT.DHP-1084589-400
ISBN 9789043127110. 9x12 inches. English-German-French-Dut ch.
Grazyna Bacewicz (1909-1969) was de tweede vrouwelijke Poolse componist die in eigen land en daarbuiten bekendheid genoot. Dit eenvoudige concertino bruist van levenslust en is geschreven in een verantwoorde didactische opzet. Drieposities zijn vereist, maar alleen de basisvingerstanden zijn toegepast. Het eerste deel start energiek - het bevat veel noten maar ligt goed in de vingers. In het romantische tweede deel kan de violist zijn of haar lyrische kantlaten horen. Met een aangename drive voert het derde deel naar het slot via spectaculair klinkende loopjes - die echter gemakkelijk te spelen zijn. Succes verzekerd!Deze boeken zijn gemaakt binnen het Study & Play-concept,dat de leerling helpt om zijn/haar spel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer worden één of twee cd‘s meegeleverd die iets extra‘s toevoegen aan de studie-methode. In het gevalvan de onderstaande uitgaven bieden de cd‘s de mogelijkheid om te studeren in zowel het gewone tempo als een rustig oefentempo. De verzorgde set bestaat verder steeds uit een vioolpartij en pianopartij. De cd bevat tevens de begeleiding,waardoor een pianist niet beslist noodzakelijk is.Gra¿yna Bacewicz (1909-1969) war nach Maria Szymanowska die zweite polnische Komponistin, die in ihrer Heimat und im Ausland berühmt wurde. Darüber hinaus war sie eine begabte Geigerin. Dieses geradlinige, dreisätzige Concertino sprudelt über vor Lebensfreude. Ein gut durchdachter pädagogischer Rahmen ist deutlich dahinter erkennbar. Drei Lagen sind erforderlich, aber es werden nur die grundlegenden Griffarten verwendet.
