The Student Violinist

Author: Craig Duncan
Publisher: Mel Bay Publications
ISBN: 9780786630752
Size: 24.87 MB
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The Student Violinist. "This collection includes transcriptions of music from Beethoven's incidental works, including his German dances, contradances, and violin trios, as well as martial music and piano compositions. All the pieces are playable in first position, beginning with easy arrangements and progressing in difficulty. Most of the piano parts double the violin to aid performance. Violin part 15pp.; Piano part 31 pp."

The Student Violist

Author: Craig Duncan
Publisher: Mel Bay Publications
ISBN: 1609742370
Size: 14.78 MB
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The Student Violist. This collection of viola pieces is derived from Beethoven's incidental works. Titles include: Contredance; Duet; Ecossaise; Für Elise; Romanze; and Trinklied. the piano parts frequently double the viola to aid in performance. Books in this series feature a pull-out viola part with essential bowings and fingerings.

The Student Violist Beethoven

Author: Craig Duncan
Publisher: Mel Bay Publications
ISBN: 9780786645183
Size: 28.80 MB
Format: PDF, ePub, Docs
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The Student Violist Beethoven. This collection of viola pieces is derived from Beethoven's incidental works. Titles include: Contredance; Duet; Ecossaise; Fur Elise; Romanze; and Trinklied. The piano parts frequently double the viola to aid in performance. Books in this series feature a "pull-out" viola part with essential bowings and fingerings.

Twenty Six Composers Teach The Violinist

Author: William Starr
Publisher: Alfred Music
ISBN: 9781457403682
Size: 13.87 MB
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Twenty Six Composers Teach The Violinist. An invaluable collection of excerpts from solo, chamber, and orchestral literature. Covers a wide range of technical problems.

Heinrich Wilhelm Ernst Virtuoso Violinist

Author: Mark Rowe
Publisher: Routledge
ISBN: 1351563920
Size: 32.57 MB
Format: PDF, ePub, Mobi
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Heinrich Wilhelm Ernst Virtuoso Violinist. From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Path?que, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

Beethoven Violin Concerto

Author: Robin Stowell
Publisher: Cambridge University Press
ISBN: 9780521451598
Size: 17.84 MB
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Beethoven Violin Concerto. Beethoven's Violin Concerto was the only significant work of this genre to appear between Mozart's five concertos of 1775 and Mendelssohn's E minor Concerto of 1844. This handbook explores the background to Beethoven's work, its genesis, its place in the composer's oeuvre and the influences which combined in its creation. It describes contemporary reactions to the work both in the musical press and in the concert hall during its first crucial years, and explains how it was eventually accepted into the repertory, spawning numerous recordings and editions. The principal sources and many of the work's textual problems are considered, including discussion of the composer's version for piano and orchestra, Op. 61a. A detailed account of the work itself is followed by a review of the wide variety of cadenzas that have been written to complement the concerto through its performance history.