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Sonata No. 1 for solo violin (1941) Sonata No. 2 for solo violin (1958) Four Caprices for Violin Solo; Polish Caprice (1949) Johann Sebastian Bach. 3 Sonatas and 3 Partitas, for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; Sonata No. 2 in A minor, BWV 1003; Partita No. 2 in D minor, BWV 1004
Download as PDF; Printable version; ... Violin Concerto No. 1 in D minor, Op. 3 [2] Violin Concerto No. 2 in E major, ... Air Varié for violin solo and string trio, ...
Concerto No. 2 in D major for 2 violins and orchestra, H. 329; Karl Marx: Concerto for 2 violins and orchestra; Wolfgang Amadeus Mozart: Concertone in C major for 2 violins and orchestra, K. 190; Mark O'Connor: Double Violin Concerto for 2 violins and symphony orchestra; Arvo Pärt: Tabula Rasa for 2 violins, prepared piano and string orchestra
Yang played the solo part while Chen performed an original arrangement of the orchestral component for solo violin. [20] In December 2020, the duo announced a temporary hiatus from YouTube while Yang addressed some health issues. [21] [22] The duo made a slow return to content creation in January 2021. [23]
De Bériot's pioneering violin technique and Romantic style of composition make his concertos and etudes an important stepping stone for the serious violin student wishing to gain a firm foundation before studying the major concertos of the Romantic era. His most popular concertos are No. 9 in A minor Op. 104 and No. 7 in G major Op. 76.
The Solo Sonata presents violinists with many difficulties and uses the full gamut of violin techniques: several notes played simultaneously (multiple stops), artificial harmonics, left-hand pizzicato executed simultaneously with a melody played with the bow, and wide leaps between pitches.
At the very beginning of the movement, Ysaÿe directly quotes the beginning of Prelude from J. S. Bach's Partita No. 3 in E major for solo violin. Much like Bach's E major Prelude, the movement consists of virtuosic sixteenth notes throughout, yet Ysaÿe's use of chromatic tonality clearly sets the piece in the genre of early 20th century music.
Bruckner crossed out the second half of section 2 of the slow movement, judged too difficult for the solo horn – with, as a result, an imbalance in the structure of the movement [4] – and re-orchestrated its section 5. He also made additional cuts in the first movement and the Finale, and dropped the "Neuer Satz" and substituted it for an ...