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).

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.

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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).

As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio, composed in 1914. Thus the “Passacaglia” movement corresponds to the underlying form of the Baroque Period. The music on the other hand was, according to Ravel, “like that of Saint-Saëns”, which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: from a constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianist Pascal Rogé.

The middle work in the three late chamber music sonatas was composed in spring 1915, directly after the cello sonata (HN 633). The innovative combination of sounds – a wind instrument, a stringed instrument, and a plucked instrument – greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it, saying: “It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the same time?” On another occasion he emphasised the similarities with his own compositional style of the 1890s, remarking of the sonata: “It reminds me of a very old Claude Debussy – the one of the Nocturnes”.

Written in 1823, this magical 'double' concerto was composed in three-movement form (Allegro-Adagio-Allegro molto) and represents an unusual concerto pairing. It is pure Mendelssohn at its best! The central Adagio movement is a wonderful "Song Without Words." Features many solo passages for each soloist, to beautiful effect. Not to be missed! Includes an authoritative performance edition of the violin score, edited by Mario Hossen and newly engraved and printed on high-quality ivory paper.

The theme that forms the basis for this much-loved concert work is in fact an original Tchaikovsky theme written in a classical rococo style. In a nod to the classical era, Tchaikovsky wrote the piece for a smaller orchestra than was typical in his High Romantic era. Each of the eight variations are run together with only a fermata to separate them. It is pure magic, minus you!

These two seminal violin sonatas sit atop Beethoven's compositions for the instrument, and indeed of all violin works. Presented here in pristine new performances with Mario Hossen and Sung-Suk Kang.

Music Minus One presents a masterpiece concerto by Bach, who originally composed this classic 'triple' concerto for three violins, strings and continuo. Music Minus One are happy to offer it as closely as possible to the original version, for three violins. They've also included separate recordings minus each of the three instruments, so you can choose which part you want to play! This MMO learning and performance edition features virtuoso violinist Mario Hossen playing the primoviolin part, with Jacklin Preys and rosiza Chopeva providing second and third violin parts along with the Les Orpheistes Chamber Orchestra of Vienna. Includes an authoritative performance edition of the violin score, edited by Mario Hossen and newly engraved and printed on high-quality ivory paper. The CD contains the complete performance of the concerto, followed by a second version minus the soloist, as well as a slower-tempo version of the accompaniments for practice.

Samson, an oratorio for soloists, mixed chorus and orchestra by George Frideric Handel, libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows.This is the Cello / Double Bass (Continuo) part.

Samson, an oratorio for soloists, mixed chorus and orchestra by George Frideric Handel, libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows.This is the Violin 2 part.

Samson, an oratorio for soloists, mixed chorus and orchestra by George Frideric Handel, libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows.This is the Violin 1 part.

37 Violin Pieces You Like to Play features the classic repertoire of the masters along with two enhanced CDs that feature Piano accompaniments for each piece as well as tempo adjustment software for CD-ROM computer use.

Romance C-Dur. (aus dem Lirenkonzert Nr. 3, Hob. Vllh:3). By Franz Joseph Haydn (1732-1809). Chamber Music (Recorder & Guitar). For 2 alto recorders, tenor recorder (violin), 2 guitars (cello ad libitum). 3-4. Score and set of parts. 24 pages. Published by Doblinger Music Publishers (DB.GKM-00117). Elisabeth Bayer hat sich bei dieser Bearbeitung, die Git. miteinbezieht und sich an den schulischen Musizierkreis richtet, notengetreu an das Original gehalten.

10 Kanons. (Aus dem "Musikalischen Opfer", BWV 1079 in der Fassung von Johann Sonnleitner). By Johann Sebastian Bach (1685-1750). Chamber Music (Strings, Winds & Piano). For flute, violin and piano. 29 pages. Published by Doblinger Music Publishers (DB.DM-00809). Mit der vorliegenden Ausgabe erscheint erstmals eine Einrichtung, die sich auf das von Bach im Gesamtzyklus eindeutig erwahnte.

Sonata Vice Versa / Sonata Giardino Corrupto. (Aus "Canzoni Sonatae", 1653). By Erasmus Kindermann. Chamber Music (Strings & Piano). For 2 violins and basso continuo. 1-2/1/1-2/1-2. 28 pages. Published by Doblinger Music Publishers (DB.DM-01126).

Sonata decima D-Dur op. 3 / 10. (Aus "10 Sonate da chiesa"). By Giovanni Maria Ruggieri. Chamber Music (Strings & Piano). For 2 violins and basso continuo. 1-2/1-2/2/2. Op. 3/10. Published by Doblinger Music Publishers (DB.DM-00430). Diese Sonaten sind mit Gitarre-Continuo von Erwin Schaller in der Reihe Gitarre-Kammermusik (GKM 83 - 92) erschienen.

Sonata ottava G-Dur op. 3 / 8. (Aus "10 Sonate da chiesa"). By Giovanni Maria Ruggieri. Chamber Music (Strings & Piano). For 2 violins and basso continuo. 1-2/1-2/2/2. Op. 3/8. 28 pages. Published by Doblinger Music Publishers (DB.DM-00428). Diese Sonaten sind mit Gitarre-Continuo von Erwin Schaller in der Reihe Gitarre-Kammermusik (GKM 83 - 92) erschienen.

Sonata I (g-moll). (Aus 10 Sonatas of III Parts", 1683). By Henry Purcell (1659-1695). Chamber Music (Strings & Piano). For 2 violins and basso continuo. 1-2/1-2/2/2-3. Composed (1683). 19 pages. Published by Doblinger Music Publishers (DB.DM-00553). ISBN M-012-13855-6. a) Sonatas of III Parts (12 Triosonaten 1683).

Betrachte meine Seel' (aus der Johannes-Passion). By Johann Sebastian Bach (1685-1750). Edited by K. Scheit. Chamber Music (Guitar). For bass, 2 violins, guitar. 3. 8 pages. Published by Doblinger Music Publishers (DB.GKM-00038). Die am Original orientierte Ausgabe macht prominente Lautenliteratur fur die Gitarre-Kammermusik verfugbar. OLP.

An der schonen blauen Donau op. 314. (Alternativ-Partitur SG-00119). By Johann Strauss, Jr. (1825-1899). Waltz. For orchestra ([2(Piccolo).2.2.2-4.2.1.1], Harp, Drum, Percussion, Strings). Score. Op. 314. 52 pages. Published by Doblinger Music Publishers (DB.DM-00845-PA).

Notturno Nr. 6 G-Dur. (Acht Notturni, Hob.II:30). By Franz Joseph Haydn (1732-1809). Chamber Orchsetra. For 2-part (2 alto recorders /Flute and Oboe), 2 horns, 2 violins (clarinets), 2 viola, bass. Score. Hob.II:30. 48 pages. Published by Doblinger Music Publishers (DB.DM-00306-PA). Acht Notturni, Hob. II:25-32Haydns charmante Lirenkonzerte sind hofische Unterhaltungsmusik im besten Sinne, 1785 fur die Hofkapelle des Konigs von Neapel geschrieben. Einer der Soloparts ist fur den Konig selbst gedacht, deshalb sind diese Stimmen relativ leicht, aber trotzdem nich.