Strings

Excerpts from works by Beethoven, Brahms, Berlioz, Haydn, Weber, Rachmaninoff, Dvořák, Smetana, Chausson, Mahler, Mozart, Mendelssohn, Schumann, Sibelius, Franck, Verdi, Borodin, Ippolitov-Ivanov, Rimsky-Korsakov, Stravinsky, Tchaikovsky, Mussorgsky, Saint-Saens, Dukas, Shostakovich, Bruckner, Prokofieff, Thomas, Liszt, Wagner, and Grieg.

Excerpts from works by J. S. Bach, Beethoven, Saint-Saens, Brahms, Berlioz, Rachmaninoff, Chabrier, Rossini, Debussy, Enesco, Mendelssohn, Liszt, Borodin, Tchaikovsky, Mozart, Schubert, Haydn, Franck, Schumann, Sibelius, Weber, Rimsky-Korsakov, Mahler, Prokofieff, Shostakovich, Dvorak, Volkmann, Charpentier, Smetana, Stravinsky, and Elgar.

Excerpts from works by Albeniz, J. S. Bach, Beethoven, Berlioz, Brahms, Chabrier, Debussy, Dvorak, de Falla, Glazunov, Glinka, Humperdinck, Ibert, d'Indy, Kabalevsky, Kalinnikov, Lalo, Lyadov, Liszt, Mahler, Mendelssohn, Mozart, Nicolai, Prokofieff, Ravel, Rimsky-Korsakov, Saint-Saens, Schumann, Schubert, Schoenberg, Sibelius, Johann Strauss, Stravinsky, Tchaikowsky, and Vaughan Williams.

Contains excerpts from the following works: The damnation of Faust by Berlioz, German requiem by Brahms, Symphony no. 1 and Symphony no. 8 by Bruckner, Symphony no. 7(2) and Scherzo capriccioso by Dvořák, The three cornered hat by De Falla , The Piano concerto by Grieg, Harmonie der Welt, Nobilissima visione, and Mathis der Maler by Hindemith, Galanta dances by Kodaly, Symphony no. 5 and Das Lied von Erde by Mahler, Romeo and Juliet Suite 1 and Suite II by Prokofiev, Alborada del gracioso by Ravel, Overture "Donna Diana" by Reznicek, Le coq d'or Suite by Rimsky-Korsakov, Le festin de l'araignée by Roussel, Variations, op. 31 by Schoenberg, Symphony no. 5 by Sibelius, From Bohemia's woods & meadows by Smetana, Le bourgeois gentilhomme by Strauss, Jeu de cartes and Symphony in C by Stravinsky, The Sleeping Beauty Suite, Symphony no. 1, and Suite no. 3 by Tchaikovsky, A London symphony by Vaughn-Williams, and Overture I vespri siciliani by Verdi.

Symphony no. 1 in C major, op. 21 -- Symphony no. 2 in D major, op. 36 -- Symphony no. 3 in Eb major, op. 55 "Eroica" -- Symphony no. 4 in Bb major, op. 60 -- Symphony no. 5 in C minor, op. 67 -- Symphony no. 6 in F minor, op. 68 "Pastoral" -- Symphony 7 in A major, op. 92 -- Symphony no. 8 in F major, op. 93 -- Symphony no. 9 in D minor, op. 125 "Choral"

Symphony no. 1 in G minor, op. 13 "Winter Reveries" -- Symphony no. 2 in C minor, op. 17 "Little Russian" -- Symphony no. 3 in D major, op. 29 "Polish" -- Symphony no. 4 in F minor, op. 36 -- Symphony no. 5 in E minor, op. 64 -- Symphony no. 6 in B minor, op. 74 "Pathetique"

Excerpts from: Rienzi -- Flying Dutchman -- Tannhauser -- Lohengrin -- Tristan and Isolde -- The mastersingers -- The Rhinegold -- The Valkyrie -- Siegfried -- The twilight of the Gods -- Parsifal -- A Faust overture -- Symphony in C major -- Siegfried-Idyll

Contains excerpts from Symphony in F minor, Aus Italien, Don Juan, Macbeth, Death and Transfiguration, Till Eulenspiegel, Thus spake Zarathustra, Don Quixote, Ein Heldenleben, and Symphonia domestica by Richard Strauss.

Contains excerpts from works by Mozart, Cherubini, Beethoven, Boieldieu, Kreutzer, Auber, Weber, Chelard, Herold, Meyerbeer, Rossini, Marschner, Schubert, Donizetti, Halevy, Lortzing, Berlioz, Lachner, Mendelssohn, Schumann, Nicolai, Flotow, Wallace, Verdi, Volkmann, Maillart, Gounod, Raff, Bargiel, Grimm, Wagner, Hofmann, Adam, Liszt, and Bizet.

Includes excerpts from works by Borodin, Wieniawski, Bizet, Wolf, Mahler, Sibelius, Reger, and Shostakovich.

Written by Maurice W. Riley for violists and luthiers, this book (Volume I, Revised) is one of the first discussing all aspects of the viola from the 16th century to the future. Volume II is considered a supplement to Volume I and features more descriptions and images of instruments from luthiers, musicians, instrument dealers, and museums.

The second edition is extensively expanded in its graded lists of studies and solos, in its encyclopedic catalog of viola literature in print, and (perhaps most important) in its treatment of the musical and pedagogical aspects of teaching the viola. A work already unique has been augmented in all its major aspects.

A study of the life and work of the legendary violin maker Antonio Stradivari explores the accomplishments of the seventeenth-century Italian whose craftsmanship revolutionized the making of the violin, cello, and viola.

Lionel Tertis (1876-1975) was a violist and pedagogue who had a major role in establishing the viola as a solo instrument. This book contains his autobiography and four essays addressed to string players: "Beauty of Tone in String Playing," "The Art of String Quartet Playing," "Hints to Composers," and "The Tertis Model Viola."

Children of the Stone chronicles Ramzi's journey--from stone thrower to music student to school founder--and shows how through his love of music he created something lasting and beautiful in a land torn by violence and war. This is a story about the power of music, first, but also about freedom and conflict, determination and vision. It's a vivid portrait of life amid checkpoints and military occupation, a growing movement of nonviolent resistance, the prospects of musical collaboration across the Israeli-Palestinian divide, and the potential of music to help children everywhere see new possibilities for their lives.

In this book, artist-teachers from the renowned Indiana University School of Music reflect upon concepts in string playing such as the evolution of technique and pedagogy or the definitions of talent.

This guide is a must-have reference book to help all violin, viola and cello owners care for their instruments and bows. With education and guidance, any player can learn: what is necessary to get a stringed instrument into top condition for optimum sound and tone; routine maintenance practices; how to treat an instrument to ensure that it will provide a lifetime of quality playing and musical enjoyment; and much more.

Legendary music educator Elizabeth A.H. Green draws upon her decades of experience instructing students of all levels to break down the practicing regimen into a logical learning sequence. In Part One, she suggests isolating difficult musical passages so they become instantly manageable using rhythmic motifs, scales, accentuations, and etudes. In Part Two, experts on various instruments discuss recurring problems and how to defeat them. In the concluding Part Three, Green notes the physiological principles pertaining to practice and suggests ways to modify practice sessions to reflect these facts. She writes, "Ultimate success depends upon one immutable, inescapable, and well-publicized fact: the musician has to practice successfully or not."