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Suite for Solo Violin No. 1, Op. 7 -dedicated to Igor Bezrodny-Suite for Solo Violin No. 2, Op. 13 -dedicated to Vladimir Avramov-Jenő 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)
The Introduction and Rondo Capriccioso in A minor (French: Introduction et Rondo capriccioso), Op. 28, is a composition for violin and orchestra written in 1863 by Camille Saint-Saëns. It was dedicated to the virtuoso violinist Pablo de Sarasate, who performed the solo violin part at the premiere in April 1867. [1]
Violin Concerto No. 1 (for violin and string quartet) (1949) Violin Concerto No. 2 (1977–78, rev. 1980) Hans Pfitzner. Violin Concerto in B minor, Op. 34 (1923) Willem Pijper. Violin Concerto (1938–39) Walter Piston. Violin Concerto No. 1 (1939) Violin Concerto No. 2 (1960) Ildebrando Pizzetti. Violin Concerto (1944) Manuel Maria Ponce ...
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 ...
Etudes for piano, Volume 1 (1994 and earlier) The Joyful Moment for piano (1998) Truman Sleeps (1998, from the film The Truman Show) Dreaming Awake for piano (2003, written and recorded by Glass as a benefit for Jewel Heart) A Musical Portrait of Chuck Close, two movements for piano (2005, Etudes 11 and 12 of Volume 2)
Page:Hans Holbein the younger (Volume 1).pdf/196 Metadata This file contains additional information, probably added from the digital camera or scanner used to create or digitize it.
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In a few exceptional movements the upper keyboard part is directly related to the violin part: in BWV 1015/3, the two upper parts play in strict canon over broken semiquaver chords in the bass; in BWV 1016/3 in trio sonata form, the two upper parts share the same material, with invertible counterpoint and imitation; in BWV 1014/3, the right ...