MASTERING THE VIOLIN - THE Accompaniment BOOK
After the great success of my 5-stage violin method (2011), I was often asked by professionals and teachers if it would be possible to produce a further volume of carefully edited masterpieces of the violin repertoire. As the individual works are all already available in various editions, I opted for a comprehensive teaching and training concept. By means of the three mutually supportive pillars of top-quality solo parts, practical second violin accompaniments (even of the normally unaccompanied pieces by Bach, Paganini and Ysaÿe) and meaningful playback tracks for practice or informal performance, I hope to have made a further contribution to violin teaching, enabling violinists to recognise their limitations and to overcome them.
The arrangements for 2nd violin are deliberately quite simple, so that the accompanist (who will often be the teacher) can listen to the solo part. We have avoided complex virtuoso accompaniments, which might reflect the original orchestra or piano part in more detail, in favour of a more easily playable part. This has the advantage that the soloist can play at full tempo and rely on a solid rhythm form the accompaniment. Moreover, the 2nd part can be played by other students instead of by the teacher.
The bar numbers correspond to the usual existing editions and also to the solo Gold Book.
Where the solo part is rubato or especially complicated to follow, it is included as a cue on an additional stave. However we have not shown the entire solo part throughout, in order to avoid too many impossible page turns.
The violin accompaniment could be used in addition to a piano part.
Sustained notes and chords provide a good imitation of the orchestral harmonies, whilst being technically easy enough for other pupils in a class to join in for teaching and rehearsal purposes, or even for informal performances.
I hope you will enjoy this new publication!
Yours Florian Meierott
Many thanks to John Mortimer in Edinburgh for help with typesetting, to Meritxell Canela in Berlin, to Christina Blain and Josef Röll for the graphics. I would also like to thank my wife and family for their understanding and tolerance of the amount of time I dedicate to my beloved violin!
Playback tracks and solo sheet music are available here.
Czardas Vittorio Monti (1868–1922)
Scène de ballet Op. 100 Charles-Auguste de Bériot (1802-1870)
Cantabile Niccolò Paganini (1782–1840)
The Bee (die Biene) Franz Schubert (Dresden) (1808-1878) arr. A. Wilhelmj
Romance in F-major Op. 50 Ludwig van Beethoven (1770–1827)
Caprice No. 16 Niccolò Paganini
Légende Op. 17 Henryk Wieniawski (1835-1880)
Moto Perpetuo Op. 11 Niccolò Paganini (1782–1840)
Romanza Andaluza Op. 22 Pablo de Sarasate (1844–1908)
Konzertstück in D-major Franz Schubert (1797–1828)
Caprice No. 13 Niccolò Paganini (1782–1840)
Gipsy airs op. 20 Pablo de Sarasate (1844–1908)
Sonata in E-minor (Violin and Guitar) Niccolò Paganini (1782–1840)
Concerto No. 4 in D-major KV 218 Wolfgang Amadeus Mozart (1756–1791)
Caprice No. 5 Niccolò Paganini (1782–1840)
Violin Concerto No. 1 in G-Minor Max Bruch (1838–1920)
Sonata III in C-major BWV 1005 Johann Sebastian Bach (1685–1750)
Violin Concerto in E-minor Op. 64 Felix Mendelssohn-Bartholdy (1809–1847)
Introduction and Tarentella Op.43 Pablo de Sarasate (1844–1908)
Dark Elegy Florian Meierott (*1968)
Polonaise de concert Op. 4 Henri Wieniawski (1835–1880)
Introduction et Rondo capriccioso Op. 28 Camille Saint-Saëns (1835–1921)
Violin Concerto in D- Major op. 61 Ludwig van Beethoven (1770–1827)
Caprice No. 1 Niccolò Paganini (1782–1840)
Sonata No. 3 Op. 27 No. 3 – „Ballade“ Eugène Ysaÿe (1858–1931)
Caprice No. 24 Niccolò Paganini (1782–1840)
All pieces edited by Florian Meierott