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17230375
17230375
17230375

Masterworks For Violin

Twenty-five World-Renowned Works for Violin and Piano

By Alexander Zarzycki

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Strings violin, piano
Twenty-five World-Renowned Works for Violin and Piano. Composed by Alexander Zarzycki, Clarence White, etc., Francois Prume, Franz Ries, Jenoe Hubay, Jesus De Monasterio, Joseph Raff, Nicolo Paganini (1782-1840), Richard Wagner (1813-1883), Johannes Brahms (1833-1897), Henri Wieniawski (1835-1880), Franz Lehar (1870-1948), Enrique Granados (1867-1916), Grigoras Dinicu (1889-1949), and Felix Bartholdy Mendelssohn (1809-1847). Edited by A. Grunwald, Fritz Kreisler, Jascha Heifetz, Mischa Elman, Leopold Auer, Eric Wen, Gustave Saenger, and George Perlman. Arranged by Carl Friedberg, Jacques Thibaud, Jascha Heifetz, Paul Kochanski, and Gustave Saenger. Perfect - A Hinge". Back To School. Solo part with piano reduction. With Standard notation. Carl Fischer Music #BF29. Published by Carl Fischer Music (CF.BF29).

Item Number: CF.BF29

ISBN 9780825860089. 9 x 12 inches. Text: Eric Wen, transcribed by Joseph Joachim; Mischa Elman; Joseph Achron; August Wilhelmj.

A massive collection (piano score - 207 pages, violin part - 87 pages), Masterworks for Violin includes some of the most beloved concert pieces for the violin, many of which have been out of print for years. With 25 renowned works for violin and piano, the book features transcriptions and compositions by Joseph Joachim, Jascha Heifetz, Jacques Thibaud, Misha Elman, Leopold Auer, Gustav Saenger, August Wilhelmj, among others. The titles in Masterworks for Violin are concert level and will be outstanding repertoire for the serious violinist.
This collection of short violin masterworks opens with a delightful work by Franz Schubert (17971828) in an arrangement by Carl Friedberg (18721955), a German pianist who studied with Clara Schumann. Although Friedberg became a renowned teacher himself, numbering Percy Grainger and Elly Ney among his pupils, he was also a marvelous pianist, and toured with Fritz Kreisler for several seasons. The Rondo featured here is an arrangement of the last movement from the composers Piano Sonata in D, op. 53. This transcription was frequently performed by Kreisler, who especially provided fingerings and bowings in the violin part for publication. This effective arrangement was featured not only in the repertoire of the Viennese master, but also in programs by such diverse violinists as Szigeti and Heifetz. A setting of words by the German romantic poet Heinrich Heine, Felix Mendelssohns On Wings of Song remains the composers best known Lied. The brilliant violin arrangement featured here is not merely a transcription, but an elaborate paraphrase, displaying intricate double stops and tremolos, by the Russian violinist Joseph Achron (18861943). Achron was a pupil in Leopold Auers legendary violin class in St. Petersburg, and began his career as a performer. He settled in California where he made his living as a studio violinist, but also composed energetically. His original works display a novel sense of harmony, inspiring Arnold Schoenberg to describe him as one of the most underestimated of modern composers. Mendelssohn also wrote a series of pieces for solo piano which he dubbed simply Songs without Words. He expressly avoided giving them titles, and once explained to someone who had inquired about their meaning that music is more specific than words. These lovely piano miniatures were extremely popular in their day, and became staples of the Victorian age. The Song without Words, op. 67 no. 6, was the last ever to be published in the composers lifetime, and is presented here in an exquisite transcription by Mischa Elman (18911967). Another series of piano miniatures that gained favor in the mid-nineteenth century was the Lyric Pieces by Edvard Grieg (18431907). Elman and Achron again provide imaginative arrangements of two of these: the haunting Notturno with its piquant harmonies, and the lively, but mischievous Puck. Although remembered today almost exclusively for his groundbreaking music-dramas, Richard Wagner (18131883) began his musical career as a composer of conventional instrumental music. He completed his First Symphony when he was nineteen, and his first published work was a Piano Sonata in Bf, op. 1. The Albumblatt (also known as Romanze) was originally written for solo piano in Wagners late teens. The arrangement for violin and piano was made by the German violinist August Wilhelmj (18451908), who fittingly enough served as Wagners concert master at Bayreuth at the premiere of the composers Ring cycle in 1876. Niccolo Paganini (17821840) is undoubtedly the single most influential figure in the history of violin playing. He jealously guarded his technical secrets, and published very few works in his lifetime. Many of his famous compositions, including the concertos, were only brought out posthumously. Franz Liszt was among the many musicians who were mesmerized by the Italian master, and, after hearing him perform the Concerto No. 2 in B minor, was inspired to make a breathtaking arrangement of the last movement. Dubbed La campanella (The Bell), Franz Liszt included it (before Paganinis original was published) as one of his Six etudes dapres Paganini. Nearly a century later the Polish violinist Paul Kochanski re-transcribed Liszts arrangement back for the violin, incorporating many effects created by Liszt to make the virtuosic display on the violin even more brilliant (and difficult) than Paganinis original. As with most violinists who followed in the wake of Paganini, Heinrich Ernst (18141865) emulated the Italian master. His works not only equal, but sometimes even surpass, Paganinis technical challenges. His Variations on Carnival de Venise and the Concerto in Fs minor remain fiendishly difficult to play. By way of contrast, he composed a tender Elegie, for which Louis Spohr composed a short Introduction. This soulful work can be regarded as one of the earliest violin encore works ever written. Another popular virtuoso piece from the same era is La Melancolie by Francois Hubert Prume (18161849), a Belgian violinist who spent several years in Stockholm. The original melody with its three variations, especially the tremolo passage work of the second variation, was extremely popular in the late-nineteenth century. One of the giants among virtuoso violinists of the nineteenth century was Heryk Wieniawski (18351880). Renowned for his fiery temperament and astounding technical prowess, Wieniawski was especially popular in Russia, where he was appointed as solo violinist to the Czar and professor at the St. Petersburg School of Music. Wieniawski returned to Europe in 1874, and took up the distinguished position of violin professor left by Vieuxtemps at the Brussels Conservatory. Wieniawski created many important works for the violin, including two breathtaking concertos. His Capriccio-valse is a charming piece that abounds in staccato passagework. Its gentle, playful character requires a virtuosity that is subtle, not obtrusive. The Hungarian violinist Jeno Hubay (18581937) became Wieniawskis successor at the Brussels Conservatory. Hubay eventually returned to his native country, and became a professor at the Budapest Academy. He was an enormously influential teacher, and numbered Joseph Szigeti, Franz von Vecsey, Emil Telmanyi, Jelly dAranyi, Erna Rubinstein, and Steffi Geyer among his prize students. Hubay composed many violin works, including four concertos and a series of evocative larger pieces for violin and orchestra known as the Scenes from the Czardas. He also wrote a large-scale opera based on the life of the legendary violinmaker Antonio Stradivari. Entitled The Violin Maker from Cremona, this two-act opera was first performed in Budapest in 1894, and received success abroad as well. The Intermezzo from this opera is a violin solo, which begins with the bare fifths of the open strings before launching into a passionate melody. The Romanian violinist Grigoras Dinicu (18891949) made his career performing light music in hotels, restaurants, and nightclubs. His violin training was classically based, however, and in his early teens he studied with the noted pedagogue Carl Flesch at the Bucharest Conservatory. Jascha Heifetz was extremely taken with Dinicus playing after hearing him at a cafe in the early 1930s, and arranged one of his pieces as a concert encore. The Hora Staccato gained instant fame, and brought international recognition to the composer. The names of Raff and Zarzycki are all but forgotten today except as composers of a single violin piece that they each wrote. Joachim Raff (18221882) began his career as a schoolteacher, but gained the attention of Mendelssohn who admired his work. The distinguished composer recommended Raff to the publisher Breitkopf & Hartel, who brought out several short piano pieces as his first compositions. Raff wrote prolifically, composing over 200 works, including six operas, eleven symphonies, two violin concertos, and much chamber music. His soulful Cavatina for violin and piano, however, remains his most renowned composition. The expansive melody, initially stated on the rich G-string, displays Raffs lyrical gift. This popular piece, incidentally, was a favorite of Mischa Elman, who often programmed it to showcase his golden tone. The Polish-born Aleksander Zarzycki (18341895) wrote many short piano pieces, as well as a piano concerto and an Introduction et Cracovienne for violin and orchestra. Nevertheless, his most popular work remains the brilliant Mazurka in G for violin and piano. Two of the works featured in this collection are by musicians who ultimately made their careers as music publishers. Franz Ries (18461932) studied the violin with Lambert Massart at the Paris Conservatoire, and began his career as a violinist before entering the music-publishing business in his late twenties. He eventually founded the Berlin-based publishing firm Ries and Erler. His delightful La Capricciosa belongs to a whole genre of pieces in E major (such as Elgars La capriceuse and Hubays Zepyhr), whose carefree mood is punctuated by delicate richochet bowings. The New York-born Gustav Saenger (18651935) studied violin with Louis Damrosch, and began his musical career as an orchestral violinist. He began his association with Carl Fischer in 1897 when he was employed as an arranger, and eventually became the editor-in-chief of music publications. Saenger also edited the Fischer periodicals Metronome and the Musical Observer for nearly thirty years. He composed many short pieces for violin and piano, of which the evocative Scotch Pastorale is perhaps his most enchanting. Its folk-like simplicity evokes a leisurely mood, which belies the difficulty of its intricate double-stop writing. Johannes Brahms (18331897) was greatly attracted to gypsy music, and often featured the Magyar idiom in his compositions (such as the last movements of Piano Quartet No. 1, Violin Concerto and Double Concerto). He brought out two sets of Hungarian Dances for piano, four hands. These collections brought him instant renown, and became Brahmss most popular works. He only regarded them as arrangements, however, and did not assign them an opus number. All twenty-one dances were subsequently transcribed for violin with piano accompaniment by the violinist Joseph Joachim (18311907), a champion of Brahms music. The lively Hungarian Dance No. 6 included here is one of the most popular of the set. This collection includes four works in a Spanish idiom. Enrique Granados (18671916) began his career as a brilliant pianist, and eventually became the foremost representative of the Spanish nationalist school of composers. His most renowned work was a set of piano pieces inspired by the paintings of Goya, and entitled Goyescas. Granados later adapted the set for an opera with the same name. Soon after this operas triumphant premiere at the Metropolitan Opera in 1916, Granados was killed on board the ship S. S. Sussex which was gunned down by a German submarine while crossing the English Channel. The Danse espagnole featured here is an arrangement for violin and piano of one of Granadoss solo piano works by the renowned French violinist Jacques Thibaud, who also died tragically in an airplane crash en route to a concert tour in South East Asia. The brilliant Spanish violinist Pablo de Sarasate (18441908) made his first public appearance as a soloist at the age of eight. Through the sponsorship of Queen Isabella II, he went to study with Jean-Delphin Alard at the Paris Conservatory where he achieved the premier prix in violin at age thirteen and in harmony a year later. Rossini marvelled at the brilliance of the young violinist, and noted that he was a giant in talent whose modesty doubles his charm. Sarasate became one of the most admired violinists of the late nineteenth century, and was the dedicatee of such renowned virtuoso violin concertos as Saint- Saenss Concerto No. 3 in B minor, Wieniawskis Concerto No. 2 in D minor, Bruchs Scottish Fantasy, and Lalos Symphonie espagnole. Sarasate himself contributed significantly to the violin repertoire with his many Spanish dances, such as the Caprice basque and Romanza andaluza included here. The Spanish violinist Jesus de Monasterio (18361903) studied with Charles de Beriot at the Brussels Conservatory, and received the prix dhonneur at the age of sixteen. After his studies, he returned to his native city, and became a violin professor at the Royal Conservatory in Madrid. He was offered the positions of concertmaster of the Weimar Court Orchestra under Liszt and the professorship at the Brussels Conservatory after de Beriots retirement, but declined them both out of loyalty to his native country. He wrote several orchestral works, including a Violin Concerto in B minor, but is best known for his delightful Spanish-flavored miniatures, of which Sierra morena, included here, remains his most well known. The tango is an Argentinean dance that originated in the poor neighborhoods of Buenos Aires in the late-nineteenth century. Characteristically, the dancers hold one another in a tight embrace while gesturing in violent movements. The Tango by the Russian violinist Mischa Elman is more tender in mood, but retains an undercurrent of this sultry quality. The Levee- Dance by the African-American violinist composer Clarence Cameron White (18801960) originates from the Southern states. Born in Tennessee, White studied in London (where he worked with Samuel Coleridge-Taylor, the British violinist of African descent) and Paris. He composed many short pieces for violin, arranged many spirituals for voice and piano, and wrote an opera and a ballet. The Levee Dance, op. 27 no. 4, abounds in syncopated rhythms, and contains a contrasting middle section, in the form of a soulful setting of the spiritual Go down Moses. Franz Lehar (18701948) made a living as a violinist in his early years, but gradually turned to composition. He was encouraged in this by Dvorak, and eventually gained international fame with his operetta The Merry Widow, completed in 1905. The works nostalgic charm echoed the masterful operettas of Johann Strauss II of the mid-nineteenth century. Lehars delightful Kreisler Serenade was written especially for the Viennese violinist, who embodied the grace and sophisticated humor of a by-gone era. Mario Castelnuovo-Tedesco (18951968) began his career as pianist, and studied composition with Ildebrando Pizzetti. Born in Florence, Castelnuovo-Tedesco was forced to leave Italy in 1938 because of his Jewish ancestry. He immigrated to Los Angeles where he worked briefly in film industry (he wrote the score to Gaslight, which stars Ingrid Bergman and Charles Boyer). He wrote much chamber music, solo piano music, and songs, and also several large operas, based on Shakespeares Merchant of Venice and Alls Well That Ends Well, Hans Christian Andersens fairy tale The Princess and the Pea, and Oscar Wildes The Importance of Being Earnest. Jascha Heifetz performed Castelnuovo-Tedescos First and Second Violin Concertos, and the composers brilliant and humorous paraphrase on Largo al factorum, a virtuoso romp through Rossinis most famous buffo aria from The Barber of Seville, was especially intended for the no-holds-barred approach of the inimitable virtuoso violinist.

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