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Suite for Solo Violin No. 2, Op. 13 -dedicated to Vladimir Avramov-JenÅ‘ Hubay. 6 Etudes for the Development of Bow Technique -pedagogical work-, Op.63 (1896) 6 Etudes for the Development of Left-Hand Technique -pedagogical work-, Op.64 (1896) 10 Concertant Etudes (Tíz koncertetűd), Op.89 (1900) Jordan Hunt. Two, Alone for Solo Violin (2022 ...
Violin Sonata in A minor, Op. 7 (published 1887) (Not mentioned in the list of works linked to in the article but recorded on Troubadisc [20] and noted in published articles- Dale's in Oct. 1949 Music & Letters.) Louis Spohr. Sonata for Violin and Harp in B-flat major, Op. 16; Sonata for Violin and Harp in E-flat major, Op. 113
Title page of Beethoven's symphonies from the Gesamtausgabe. The list of compositions of Ludwig van Beethoven consists of 722 works [1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827.
The 'Violin Sonatas', KV 10–15, are unique in that they include an ad lib. cello part along with the score for violin and keyboard. The Neue Mozart-Ausgabe (1966) therefore includes them along with the other keyboard trios, although the Köchel catalogue (K 6 , 1964) lists them as normal violin sonatas.
The surviving autograph manuscript of the sonatas and partitas was made by Bach in 1720 in Köthen, where he was Kapellmeister.As Christoph Wolff comments, the paucity of sources for instrumental compositions prior to Bach's period in Leipzig makes it difficult to establish a precise chronology; nevertheless, a copy made by the Weimar organist Johann Gottfried Walther in 1714 of the Fugue in G ...
Beethoven's Manuscript, page 1 Violin Sonata No. 10, 1815, musical autograph. The Violin Sonata No. 10 in G major, Op. 96, by Ludwig van Beethoven was written in 1812, published in 1816, and dedicated to Beethoven's pupil Archduke Rudolph Johannes Joseph Rainier of Austria, who gave its first performance, together with the violinist Pierre Rode.
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In 2006, The Washington Post characterized Salerno-Sonnenberg as a "fiercely original, deeply emotive violinist". Over the 25 years she had already been concertizing, "her playing, always mercurial and exciting but occasionally a little scattershot, has become positively reliable, both musically and technically, without losing any of the wild electricity that always set her apart."