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The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.
Sonate da camera [10], for solo violin, Op. 2 (Modena, c.1694) Francesco Maria Veracini. 12 Sonatas for recorder or violin solo and basso (no opus number, dedicated to Prince Friedrich August, before 1716, unpublished in the composer's lifetime) 12 Sonatas for violin solo and basso, Op. 1 (dedicated to Prince Friedrich August, 1721)
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.
The Four Seasons, for Violin solo and string orchestra (pub. 2008) Rhapsody Concertante (on Hungarian and Rumanian themes) for Violin solo and string orchestra (pub. 2008) Poema de amor, for Violin solo and string orchestra (pub.2007) André Jolivet. Violin Concerto (1972)
The second movement opens with a serene piano solo in E major with a lyrical melodic line. In the middle section, Grieg uses a playful dance tune. The second movement also exists in a version for cello and piano that Grieg composed during the same time as the violin version.
Opus 86: Sonata No. 2 for cello solo (1965) Opus 87: The Diary of Love, cantata after S. Vygodski for tenor, boys' chorus and chamber orchestra (1965) Opus 88: The Profile, song cycle after S. Vydodski for bass and piano (1965) Opus 89: String Quartet No. 11 (1965–1966) Opus 90: Words in Blood, song cycle after J. Tuwim for tenor and piano (1965)
Manuscript of the first movement of BWV 1019, third version, copied by Johann Christoph Altnickol. The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba.
[1] In this set of sonatas, he used prominent characteristics of early 20th century music, such as whole tone scale and dissonances. Ysaÿe also employed virtuoso bow and left hand techniques throughout, for he believed that "at the present day the tools of violin mastery, of expression, technique, mechanism, are far more necessary than in days ...