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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
"La Cumparsita", Tango for solo violin (transcription from: Gerardo Matos Rodríguez / arranged by Vicente Zito / edited by Ricci) George Rochberg. Caprice Variations, for violin solo (1970) (50 Variations on Paganini's 24th Caprice) Pierre Rode. 24 Caprices for solo violin (24 Caprices, plus some basic exercises), Op.22; Joaquin Rodrigo
Portato is a bowing technique for stringed instruments, [3] in which successive notes are gently re-articulated while being joined under a single continuing bow stroke. It achieves a kind of pulsation or undulation, rather than separating the notes.
The tone of the violin stands out above other instruments, making it appropriate for playing a melody line. In the hands of an adept player, the violin is extremely agile, and can execute rapid and difficult sequences of notes. The violin is also considered a very expressive instrument, which is often felt to approximate the human voice.
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.
[a] In some violin concertos, especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico, originally scored for four violins, two violas, cello, and continuo, and in Allan Pettersson's first concerto, for violin and ...
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 compositions for violin and piano D 384, 385 and 408 were named Sonata in Schubert's autographs. [ 5 ] [ 6 ] They were named Sonatina when published posthumously as Op. 137 in 1836. [ 7 ] Since these works are modest in size—rather to be compared to Mozart's violin sonatas than to Beethoven's —the "Sonatina" diminutive stuck to them.