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The Rondo for Violin and Strings, D 438, is a composition in A major by Franz Schubert. He wrote the rondo in 1816. Like the roughly contemporary Adagio and Rondo concertante in F major, D 487 , the work is a concertante piece designed to highlight the skills of the violin soloist.
Violin Concerto/Fantasiestück Opus 152 (published by Forberg, 1870s, before 1876) (Koninklijke Bibliotheek of the Hague, University of Rochester Voyager Catalog Archived 2002-09-13 at the Wayback Machine which notes that it is dedicated to Eugène Ysaÿe) Paul Hindemith. Kammermusik No. 4 (Violin Concerto), Op. 36, No. 3 (1925) Robin Holloway
Violin Solo Sonata No. 1 (1940) -dedicated to Ruggiero Ricci- (I. Praeludium con bravura; II. Cantabile; III. Allegro) Philip Glass "Strung Out", for solo amplified violin (1967) "Knee Play 2", violin solo from Einstein On The Beach; Partita for solo violin (2010/11) -dedicated to Tim Fain- (I. Opening; II. Dance 1; III.
Year Op. M.S. catalog [1] Title Key Instruments Notes 1795 c. 1: Carmagnola con variazioni (Carmagnola variations) A: Violin / Guitar: 14 Variations on the French Hymn "Carmagnole"
The 42 études ou caprices ("42 études or capriccios") for solo violin were composed by Rodolphe Kreutzer around 1796. While Kreutzer was a prolific composer with some 50 stage works and dozens of other pieces to his credit, he is best known as a pedagogue.
The work was commissioned by Erich Doflein, a German violinist and teacher, who asked Bartók if he would arrange some of the pieces from the For Children series. [1] He composed other works in this period that were meant to be pedagogical, such as Mikrokosmos .
In 1803, Franz Xaver Kleinheinz arranged the serenade for flute (or violin) and piano. Beethoven checked and approved this arrangement and it was printed as his Op. 41. [ 1 ] Similar to his Septet of the same period, the work had great popular appeal and was profitable for the young composer.
Bariolage is much more rarely employed during the Romantic period in the nineteenth century, but some notable examples of its use are found in Brahms's works. Brahms used this device in the String Sextet in G Major (where it occurs at the very beginning in the viola) and in the Third Violin Sonata, Op. 108. [13]