There has been increased general interest in the Bohemian composer Johann Baptist Georg Neruda (c. 1711–1776) over the past few years, especially due to his frequently played trumpet concerto. A respected violinist and longstanding member of the Dresden Court Orchestra, he did, however, mainly compose for the Violin. The substantial and technically quite demanding Violin Sonata in a minor was published for the first time ever in 1982 as part of Henle's edition “Bohemian Violin Sonatas” (HN 334). Henle are now proud to present it in a practical single edition with a new preface as well as an additional unmarked part.

For the first time the series “Bärenreiter’s Concert Pieces” presents arrangements of concertos for viola and violoncello. The editions are an ideal continuation of the Sassmannshaus string methods but can of course also be used independently. Further volumes are planned. Since concerto op. 35 only employs the first position, it is suitable for beginners and young students. The piece has been transposed to make it easier to play. The concise foreword by renowned string pedagogues Christoph and Kurt Sassmannshaus introduces the work and points out its relevant technical requirements.

For the first time the series "Bärenreiter’s Concert Pieces" presents arrangements of concertos for viola and violoncello. The editions are an ideal continuation of the Sassmannshaus string methods but can of course also be used independently. Since concerto op. 35 only employs the first position, it is suitable for beginners and young students. The piece has been transposed to make it easier to play. The concise foreword by renowned string pedagogues Christoph and Kurt Sassmannshaus introduces the work and points out its relevant technical requirements.

At the age of 19, Mozart wrote a series of violin concertos that marked his coming of age as a composer of orchestral music. Now a part of the standard repertoire, these works convey the composer's uniquely sensual brand of melody. This volume comprises all five works: Violin Concerto No. 1 in B-flat major Violin Concerto No. 2 in D major Violin Concerto No. 3 in G major Violin Concerto No. 4 in D major Violin Concerto No. 5 in A major This practice and performance edition is the first to combine all of these pieces in a single, low-cost Piano reduction version with a separate and removable 64-page solo violin score. Reproduced from early authoritative editions, this volume is an essential addition to the collections of intermediate and advanced musicians. Reprint of early authoritative editions.

The Swan from Saint-Saens's Carnival Of The Animals arranged for Violin and Piano by Jascha Heifetz.

At the beginning of the 1870s, Camille Saint-Saëns showed a particular fondness for the Violoncello. He completed his first Cello Sonata in December 1872, immediately after finishing his first Cello Concerto. The sonata is strongly reminiscent of Beethoven, not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding, in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Henle's Urtext edition takes all surviving sources into account – for the first time ever. Pascal Rogé and David Geringas kindly provided the markings for the Piano and Cello parts.

For violin, viola and piano

Dvorák wrote a total of four works for piano trio. The second Piano Trio in G minor op. 26 (1876) represents a conception of the form typical of the composer. At the same time, it documents the transition from his experimental phase to the emergence of his characteristic style which partly involved the return to definite form and thematic clarity. The main source for this present edition was the first printed edition (1880).

Leopold Mozart was only able to understand his son’s musical genius in terms of it being a God-given wonder: “That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it”. In 1764 Wolfgang composed six sonatas in London – possibly after the model of Johann Christian Bach’s “Opus 2” – that can either be played as piano trios, as violin sonatas or simply on the piano. “Royal” sources were consulted for the edition: the copy in the British Library bears the handwritten note: “This Volume belongs to the Queen 1788”. With marked and unmarked string parts.

These sonatas are among the epoch-making works of the violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising, therefore, that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli’s time, however, more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation, with embellishment and “variations as desired”. The original score is therefore presented here with the earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated, but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume, the “variations as desired” used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation, but also to articulation, bowings and more besides, calling for specific markings in the separate violin part. The realisation of the continuo part echoes the fashions of that time. Here too, advice on performance is meant to stimulate free interpretation by the continuo player. A figured bass part is included for the player who prefers to read the accompaniment from figures.

For Countess Josephine of Clary-Aldringen, Beethoven wrote several works for mandolin and piano four of which are still extant. These new arrangements adhere as closely to the original as possible and are written in the original key. The elegant works are shining little gems. Sonatina in C major radiates a virtuoso ease and cheerfulness while the variations of the Andante are full of humour, with deep emotions in the minor variation.

String Festival Solos are economical collections of transcriptions by Samuel Applebaum. In two volumes for each instrument, the solos are in progressive order of difficulty. Each volume contains nine pieces -- all classic titles in the Applebaum teaching repertoire. Some of these have been hard to find. Volume I progresses from Level 1 to Level 2, Volume II progresses from Level 2 to Level 3. The solos are useful for teaching technique, dynamics, phrasing, and overall musicianship. String Festival Solos are excellent for recitals, auditions and performances for assemblies, concerts or festivals. Contains: Two Austrian Folk Tunes (Kohler) * Rigaudon (Lee) * First Sonatina (Drew) * Minuet (Pleyel) * March (Clarke) * Second Sonatina (Drew) * The Strange Man (Schumann) * Two Classical Pieces (Reinagle) * Adagio and Allegro (Galliard).

Introducing the young violinist to the great symphonic repertoire.

One of the most beloved concertos in the violin repertoire, this piece features important formal innovations that place it on a par with the most significant works in the genre. Mendelssohn created the concerto specifically for Ferdinand David, his close friend and concertmaster of the Leipzig Gewandhaus Orchestra, for which the composer served as conductor. An instant success upon its 1845 premiere, the concerto remains essential to the repertoire of every aspiring violin virtuoso. Edited by the distinguished teacher and performer Leopold Auer, this authoritative practice and performance edition includes a 16-page insert of a separate, removable violin part. Professional and amateur musicians alike will appreciate this durable yet inexpensive edition, which features a sturdy binding that allows pages to remain open on music stands for years of use and enjoyment. Reprint of the Carl Fischer, New York, 1917 edition.

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Brahms composed just three sonatas for violin and piano, all of them staples of the repertoire—studied, practised, and performed by chamber music players everywhere. Musicians and students of music will be delighted to own all three works in this single-volume compilation, reprinted from authoritative editions. Both Sonata No. 1 in G Major, Op. 78, and Sonata No. 2 in A Major, Op. 100, are intensely lyrical in nature, containing some of Brahms' most beautiful and expressive melodies. Sonata No. 3 in D Minor, Op. 108, a tempestuous work full of fire and passion, is a particular favorite with audiences around the world. The violin part, edited by famed performer and teacher Leopold Auer, appears both within the book and as a separate, removable score. Reprint of the Carl Fisher, New York, 1916-17 editions.

A new, corrected edition of an important and substantial work which has been constructed from the existing set of parts by Russell Denwood. It was written in 1895 when the composer was still a student at the Royal College of Music. His composition teacher, Charles Villiers Stanford, was so impressed by the piece that he took it with him on a visit to Berlin in 1897, where he arranged for the Joachim Quartet to play it. It was published in 1902, but no score appears to exist and the parts required corrections to be made. For Clarinet in A, 2 Violins, Viola and Cello. A reduction for clarinet and piano is also available (EME651).

Two of Bruch's most enduring compositions, revealing the German composer's romanticism, fluent scoring, colourful orchestrations, and exuberant melody. The First Violin Concerto in G Minor stands as one of the most performed and recorded concertos in the violin repertoire while Scottish Fantasy reflects his lifelong interest in folk music. Reprint of Concert, Op.26, C. F. W. Siegel's Musikalienhandlung, Leipzig, n.d., and Fantasie, Op.46, N. Simrock, Berlin, 1880.

Introducing the young violinist to the great symphonic repertoire.

Sonate d-Moll / Sonata in D minor TWV 40:121 Sonate A-Dur / Sonata in A major TWV 40:122 Sonate a-Moll / Sonata in A minor TWV 40:123 Zirkelkanon e-Moll / in E minor TWV Anh. 40:103

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No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.