Violín solo (o más violines) – Acentto – Viña del Mar

Sonatas y partitas para violín solo y seis sonatas para violín y piano

Webmaster — Wed, 15 Dec 2021 18:44:37 +0000

Works for Violin
Complete Sonatas and Partitas for Unaccompanied Violin; 6 Sonatas for Violin and Clavier. Bach-Gesellschaft edition

Contenido:

Sonata No. I in G Minor

Adagio, Fuga (Allegro), Siciliano, Presto

Partita No. I in B Minor

Allemande, Double, Courante, Double (Presto), Sarabande, Double, Tempo di Bourrée, Double

Sonata No. II in A Minor

Grave, Fuga, Andante, Allegro

Partita No. II in D Minor

Allemande, Courante, Sarabande, Gigue, Chaconne

Sonata No. III in C Major

Adagio, Fuga (Allabreve), Largo, Allegro assai

Partita No. III in E Major

Preludio, Loure, Gavotte en Rondeau, Menuet I, Menuet II, Bourrée, Gigue

SONATAS FOR VIOLIN AND CLAVIER

No. I in B Minor Adagio, Allegro, Andante, Allegro

No. II in A Major [1st movement], Allegro assai, Andante un poco, Presto

No. III in E Major’Adagio, Allegro, Adagio ma non tanto, Allegro

No. IV in C Minor’Siciliano (Largo), Allegro, Adagio, Allegro

No. V in F Minor’Largo, Allegro, Adagio, Vivace

No. VI in G Major’Allegro, Largo, Allegro (Cembalo Solo), Adagio, Allegro

42 estudios o capricios

Webmaster — Wed, 15 Dec 2021 19:09:50 +0000

Sonatas y partitas. BWV 1001- 1006

Webmaster — Wed, 15 Dec 2021 19:39:56 +0000

Sin ninguna duda J. S. El ciclo de Bach de las tres Sonatas y Partitas BWV 1001-1006 representa uno de los pináculos de la música clásica europea. Según C.P.E. Bach, una voz contemporánea, afirmó que no había «nada más logrado para convertirse en un buen violinista» que las obras de su padre. El ciclo refleja todo el universo musical armónico y polifónico de la época de Bach, tan magistralmente compuesto que puede interpretarse dentro del marco limitado de un solo instrumento: el violín. La nueva publicación de las Sonatas y Partitas BWV 1001-1006 (BA 5256) constituye una revisión completa de nuestra edición anterior (BA 5116). El texto musical ha sido editado por Peter Wollny y representa el estado de investigación más actualizado publicado en New Bach Edition – Revised (NBArev), volumen BA 5937-01. La edición se basa principalmente en el autógrafo inusualmente claro de Bach, que se considera uno de los manuscritos más bellos del compositor. Se han tenido en cuenta todas las fuentes secundarias pertinentes para aclarar las ambigüedades. Estos incluyen cinco copias contemporáneas, incluida una de Anna Magdalena Bach, y cuatro manuscritos de finales del siglo XVIII y principios del XIX. El texto musical ha sido grabado de nuevo con una maquetación clara y generosa, manteniendo el paso de página y la paginación de la edición anterior. Esto permite la navegación sencilla entre una copia de la anterior y esta nueva edición. El prefacio detallado (alemán/inglés) brinda información sobre la génesis de las Sonatas y Partitas, su contexto y las fuentes.

Sonata 1 g-Moll, BWV 1001

Partita 1 h-Moll, BWV 1002

Sonata 2 a-Moll, BWV 1003

Partita 2 d-Moll, BWV 1004

Sonata 3 C-Dur, BWV 1005

Partita 3 E-dur, BWV 1006

Toccatina

Webmaster — Wed, 15 Dec 2021 19:39:59 +0000

Helmut Lachenmann wrote his Toccatina for the volume “Studien zum Spielen Neuer Musik für Violine” (EB 8356) edited by Igor Ozim and published by Breitkopf & Härtel in 1986. No one could foresee back then that this “Etude for violin solo” would take on an active life of its own. The piece was first seen as a model of new string techniques, as David Alberman explained in his 1998 essay “Beyond the Conventional,” published in the journal “The Strad.” But in the meantime, Lachenmann’s “Toccatina,” which truly does abound in unusual techniques, appears increasingly often on the programs of international festivals of contemporary music. This does justice to the work, which is, in effect, a delicate, fragile and introverted recital piece. Its title contains the word “toccare” (Italian for “to touch”); the composer took this definition literally and transposed it impressively into his piece.

Test Pieces for Orchestral Auditions Violin Band 2. Orchester Probespiel

Webmaster — Wed, 15 Dec 2021 21:06:48 +0000

Excerpts from the Operatic and Concert Repertoire. Violin I (Tutti) and Violin II.

Contents: Violin I (Tutti):

Concerto for Orchestra, 5th movement (Bartók)

• Symphony No. 3, Op. 55, 3rd movement (Beethoven)

• Symphony No. 4, Op. 60, 4th movement (Beethoven)

• Symphony No. 9, Op. 125, 1st and 2nd movements (Beethoven)

• Overture to Leonore, Op. 72a (Beethoven)

• Fidelio, 2nd Act Finale (Beethoven)

• Quintet from Carmen, 2nd Act (Bizet)

• Symphony No. 1, Op. 68, 4th movement (Brahms)

• Symphony No. 2, 2nd movement (Bruckner)

• Symphony No. 9, 2nd movement Trio (Bruckner)

• Symphony No. 9, 4th movement (Dvorák)

• Concerto for Cello, 1st movement (Dvorák)

• Philharmonisches Concerto, 1st Variation (Hindemith)

• Overture from Midsummer Night’s Dream, Op. 21 (Mendelssohn)

• Scherzo, Op. 61, No. 1 (Mendelssohn)

• Symphony No. 39, KV 543, 4th movement (Mozart)

• Symphony No. 41, 4th movement (Mozart)

• Overture from Die Entführung aus dem Serail (Mozart)

• Overture from The Marraige of Figaro (Mozart)

• Overture to the Second Act of The Magic Flute (Mozart)

• Symphony No. 2, Op. 61, 2nd movement (Schumann)

• Overture from Die Fledermaus (Strauss)

• Don Juan, Op. 20 (Strauss)

• Der Rosenkavalier, 1st Procession, 2rd procession, Introduction and Dance (Strauss)

• The Rite of Spring, 1st Act, Danses des adolescentes (Stravinsky)

• Rigoletto, 2nd Act Finale (Verdi)

• Ein Maskenball, 3rd Act, Scene and Duet (Verdi)

• Aida, 4th Act (Verdi)

• Falstaff, 2nd Act 2nd Scene, 3rd Act (Verdi)

• Tannhäuser, 2nd Act, 2nd Scene (Wagner)

• Siegfried, 3rd Act, 3rd Scene (Wagner)

• Die Meistersinger von Nürnberg, Vorspiel (Wagner)

• Overture from Oberon (Weber)

• Overture from Euryanthe (Weber)

• Overture from Der Freischütz (Weber).

Violin II:

Concerto for Orchestra, 5th movement (Bartók)

• Symphony No. 1, Op. 21, 2nd movement (Beethoven)

• Symphony No. 3, Op. 55 (Beethoven)

• Symphony No. 6, Op. 60, 4th movement (Beethoven)

• Symphony No. 9, Op. 125, 1st and 2nd movements (Beethoven)

• Fidelio, 1st Act, Aria with Choir (Beethoven)

• Carmen, 1st Act Finale (Bizet)

• Symphony No. 1, Op. 68, 4th Movement (Brahms)

• Piano Concerto Op. 15, 3rd movement (Brahms)

• Symphony No. 2, 3rd movement (Bruckner)

• Concerto for Violoncello, 2nd movement (Dvorák)

• Eine Faust-Sinfonie, 2nd movement: Gretchen (Liszt)

• Overture from Midummer Night’s Dream, Op. 21 (Mendelssohn)

• Scherzo, Op. 61, No. 1 (Mendelssohn)

• Symphony in C Major KV 200, 2nd Movement (Mozart)

• Symphony No. 39 KV 543, 4th movement (Mozart)

• Symphony No. 41, 4th movement (Mozart)

• Overture from Die Entführung aus dem Serail (Mozart)

• The Marraige of Figaro: Overture, Duet from 1st Act, Aria from 2nd Act, Finale from 2nd Act (Mozart)

• The Magic Flute: Overture, Finale from 2nd Act (Mozart)

• Daphnis and Chloe, 3rd Scene (Ravel)

• Symphony No. 4, 4th movement (Schubert)

• Overture from Die verkaufte Braut (Smetena)

• more.

Test Pieces for Orchestral Auditions Violin Band 1. Orchester Probespiel

Webmaster — Wed, 15 Dec 2021 21:25:54 +0000

Contents:

Erbarme dich from St. Matthew Passion (Bach)

• Gebt mir meinen Jesum wieder from St. Matthew Passion (Bach)

• Schliesse. meine Herze from Christmas Oratorio (Bach)

• Laudamus from Mass in Bb minor (Bach)

• Benedictus from Mass in Bb minor (Bach)

• Sanctus from Missa solemnis, Op. 123 (Beethoven)

• Lulu, 3rd Act (Berg)

• Carmen: 1st Act, No. 9 Recitative (Bizet)

• Symphony No. 1, Op. 68, 2nd movement (Brahms)

• Concerto for Cello and Orchestra, Op. 104, 3rd Movement (Dvorák)

• Symphony No. 103, 2nd movement (Haydn)

• Philharmonisches Konzert, 5th variation (Hindemith)

• Jenufa, 2nd Act, 6th Scene (Janácek)

• Paganini, 1st and 2ns Acts (Lehár)

• Martern aller Arten from Die Entführung aus dem Serail, KV 384 (Mozart)

• Haffner-Serenade KV 250, 4th movement (Mozart)

• Duet (No. 7c) from Merry Wives of Windsor, 2nd Act, 9th Scene (Nicolai)

• La Bohème, 1st and 3rd Acts (Puccini)

• Scheherazade, 1st, 2nd, 3rd and 4th movements (Rimsky-Korsakov)

• Symphony No. 4, Op. 120, 2nd Movement (Schumann)

• Der Rosenkavalier, Op. 59, 1st Act (Strauss)

• Ein Heldenleben, Op. 40 (Strauss)

• Till Eulenspiegels lustige Streiche, Op. 28 (Strauss)

• Also sprach Zarathustra, Op. 30 (Strauss)

• Die Frau ohne Schatten, Op. 65, 1st and 3rd Acts (Strauss)

• Auftritt und Tanz fer Schneieder from Der Bürger als Edelmann (Strauss)

• Swan Lake, Op. 20, 1st Act No. 5, 2nd Act No. 13, 3rd Act No. 6 (Tchaikovsky)

• Concerto No.2 for Piano and Orchestra, Op. 44, 2nd movement (Tchaikovsky)

• Overture from Tannhäuser (Wagner)

24 caprichos, Op. 1

Webmaster — Wed, 15 Dec 2021 18:44:49 +0000

Caprichos y estudios

Webmaster — Wed, 15 Dec 2021 18:50:32 +0000

Caprices and Etudes for Solo Violin

Paganini and Wieniawski were among the nineteenth century’s most famous violin virtuosos and composed some of the solo violin repertoire’s most treasured works. Here, in one large-format playing edition, are three of their most celebrated works for solo violin: Paganini’s innovative Caprices, Op. 1, and Wieniawski’s much-admired collections, L’Ecole Moderne, Op. 10, and Etudes Caprices, Op. 18.
Nicoló Paganini (1782-1840) developed a phenomenal playing technique, and literally transformed violin playing with his dazzling technical breakthroughs — fingered octaves, double-, triple-, and quadruple-stop chords, and «ricochet» bowings among them. His twenty-four Caprices, reprinted here from the definitive C. F. Peters edition, are a virtual textbook summation of his extraordinary achievements.
Henryk Wieniawski (1835–80) greatly enriched the violin literature with his highly individual style, combining Paganini’s technical advances with a soaring Romanticism and distinctive Slavonic coloring. His collections of etudes, reprinted here from authoritative editions, are, like Paganini’s Caprices, among the most demanding works in the solo violin repertory and essential parts of every violinist’s training.

Reprint of editions published by C. F. Peters, Leipzig, and others.

Contenido:

Nicolo Paganini

Caprices para violín, Op. 1

Henryk Wieniawski

L ecole moderne para violín Op. 10

Henryk Wieniawsk

iEtudes-Caprices para violín Op. 18 (con acompañamiento de un segundo violín)

6 Sonatas op. 27

Rosario — Wed, 28 Dec 2022 16:34:51 +0000

Primero fueron las sonatas y partitas de Johann Sebastian Bach, luego los caprichos de Nicolò Paganini. Ahora, con la op. Las 27 sonatas de Eugène Ysaÿe, las obras clave del repertorio para violín solo, están disponibles en ediciones urtext de Henle. Ysaÿe salpicó estas desafiantes obras con extraordinarias dificultades, dedicando cada una de ellas a un virtuoso violinista de su época y adaptándolas a sus capacidades especiales. Gracias al material fuente recientemente descubierto, podemos presentar un «texto definitivo» que en muchos aspectos reemplaza el texto previamente disponible de la primera edición.

Sonata no. 1 op. 27

Sonata no. 2 op. 27

Sonata no. 3 op. 27

Sonata no. 4 op. 27

Sonata no. 5 op. 27

Sonata no. 6 op. 27

Cadenzas for the Violin Concerto D major op. 61

Wed, 15 Feb 2023 16:26:32 +0000

Animado por Muzio Clementi, director de una distinguida editorial de Londres, Beethoven transformó su Concierto para violín en un Concierto para piano, pero conservó las cadencias del primer y tercer movimiento para esta versión. En cuanto al Concierto para violín original, no existen cadencias escritas por Beethoven. Por eso el gran violinista Wolfgang Schneiderhan transcribió las cadencias de la versión para piano para su propio instrumento, el violín, dejándonos así, en cierto modo, una cadencia original para la versión original.

Cadenzas for the Violin concerto D major op. 61

Cadenza (Wolfgang Schneiderhan)

Transition from the Andante to the Rondo (Wolfgang Schneiderhan)

Second transition to the theme of the Rondo (Wolfgang Schneiderhan)

Cadenza to the Rondo (Wolfgang Schneiderhan)