Four fantasies, each with separate violin part: Carmen Fantasy, Fantasia on Themes from Gounod's Faust, Fantasie from Mozart's The Magic Flute, and Fantasie Brillante on the March and the Romance from Rossini's Otello.

This single-volume compilation features four popular opera fantasies arranged for violin with piano accompaniment. Each of these frequently performed pieces was arranged by a world-class artist and offers the convenience of a separate violin part: Carmen Fantasy from the Opera by Georges Bizet,Op. 25, transcribed by Jenö Hubay Fantasia on Themes from Gounod's Faust,Op. 20, transcribed by Henri Wieniawski Fantasie from Mozart's The Magic Flute,Op. 54, transcribed by Pablo Sarasate Fantasie Brillante on the March and the Romance from Rossini's Otello, Op. 11, by Heinrich Wilhelm Ernst This collection is ideal for practice, performance, teaching, and independent study by students, professional performers, and amateur ensembles.

Engaging survey covers Brahms' major orchestral, choral, and piano music, culminating in a discussion of the German Requiem. Commentary places the composer's compelling music within the context of his era and environment.

Analysis of seven masterworks includes passages from Bach's Orchestral Suite No. 3, Mendelssohn's Piano Trio No. 1, Schubert's "Nacht und Träume," Brahms' Violin Sonata No. 3, Haydn's "Surprise" Symphony, Mozart's G-minor Symphony, and Beethoven's "Eroica" Symphony.

Unaccompanied choral works composed or otherwise arranged by Brahms for mixed choruses as well as individual men's and women's choruses include songs, love songs, romances, quartetes, and duets.

From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Path que, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

(Fretted). Long out of print, these virtuoso transcriptions by the legendary violinist Jascha Heifetz date from 1947, and have previously been available only separately. These showpieces capture the excitement of Gershwin's score in a unique and fascinating way. Includes: It Ain't Necessarily So * Summertime * A Woman Is a Sometime Thing * I Got Plenty O' Nuttin' * Bess, You Is My Woman * Tempo Di Blues.