A beautiful melody (and lovely accompaniment ) to help develop a singing tone and with the potential to introduce speed changes (ritenuto) and a wide dynamic range. Requires some use of ‘low’ 2nd finger. Would suit a pupil who is developing fast musically. Also published by Faber in First Repertoire for Violin.
This is a brilliant piece for developing a really strong sound, both in forte and piano. Also for always using long bows. The tonality takes a while to get used to, but this movement is really good for cementing good shitfting technique and listening skills. The piano reduction is by Hans Heinz Schneeberger
A wonderful piece that will delight any audience and have them foot tapping along. The opening cadenza has a variety of more advanced techniques with long glissandi on single notes and even on double stopped chords. There is one fast and furious patch of semiquavers in the central section as well as a most beautiful melody. Beware that the cadenza appears to have bars printed out of order, certainly not in the order Piazzolla’s bassist, Kicho, plays it. Also watch out for the many wrong notes in the bass part. Requires a professional pianist.
The Jewish character of this highly expressive piece derives both from its modal tonality, which incorporates many augmented seconds, and from its quasi-improvisatory rhythmic gestures. It requires confidence in shifting to high positions and good bow control to achieve a clear tone high on the A string.
It is recommended for ‘A’ level recitals.
This well-known late-romantic piece requires expressive phrasing and vibrato, a high degree of bow control and a secure left hand.
A popular choice for exams and concerts.
