Violin Solo (With and Without Piano)

By Mozart (Cliff Eisen) -
Published by Edition Peters
Catalog No. EP7579A
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By Mozart () -
Published by Emb
Catalog No. 51404675
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By Mozart () -
Published by Emb
Catalog No. 51404793
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By Mozart (Eisen) -
Published by Edition Peters
Catalog No. EP7579B
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By Mozart (Jerrold Rubenstein) -
Published by International
Catalog No. IMC3597
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By Ralph Matesky () -
Published by Alfred
Catalog No. 00-765
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By Modest Mussorgski () -
Published by Schott Editions
Catalog No. 49000913
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By Various (Mohrs, Peter) - Most of these selections are in first position and suitable for intermediate players. Composers include Dancla, Elgar, Heller, Orff and more.
Published by Schott Editions
Catalog No. 49044751
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By Nardini (Josef Gingold) -
Published by International
Catalog No. IMC3053
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By Bloch, Ernest () -
Published by Presser
Catalog No. B1857
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By Dorman, Avner () - Inspired by Nigun, a fundamental musical concept in traditional Jewish music.
Published by G. Schirmer
Catalog No. 50499229
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By Debussy, Claude Achi (Orledge, Robert) - The Belgian violinist Eugène Ysae (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris première of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince André Poniatowski that was to include his nearly completed three Scènes au crépuscule, inspired by the Symbolist poetry of his friend Henri de Régnier. He made extensive revisions to them in 1893, even if all that seems to have survived is a series of sketches in Bibliothèque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction). We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysae's first American tour in 1894-95, whichat one stage was described as a concerto. Then, as Debussy was putting the finishing touches to L'Après-midi d'un faune in 1894, he told Ysae he was now working on three Nocturnes for solo violin and orchestra which are destined for you, and which undoubtedly derived from his earlier Twilight scenes. The first was to be for strings only; the second for three flutes, four horns, three trumpets and two harps; the third combines all these instruments. He also informed Ysae, perhaps with Whistler's Nocturnes in mind, that they were to be like a study in grey in painting. Debussy only abandoned this project in November 1896 after Ysae told him he would not be able to première the Nocturnes in Brussels for financial reasons. My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the twilighttheme in B major beginning on solo cello and double basses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. -Robert Orledge
Published by Schott Editions
Catalog No. 49045634
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By Powell, Mel () -
Published by G. Schirmer
Catalog No. 50488724
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By Szymanowski (Aaron Rosand) -
Published by International
Catalog No. IMC3625
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By Novacek () -
Published by Edition Peters
Catalog No. EP2786
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By Heitor Villa-lobos () - Never before published, this charming concert suite is an important addition to the contemporary violin repertoire. Edited by Brazilian conductor and scholar Ricardo Averbach,the solo part and piano reduction have been carefully prepared from Villa-Lobos' original manuscripts.
Published by Presser
Catalog No. 114-41306
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By Copland, Aaron () -
Published by Hal Leonard
Catalog No. 48023413
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