Popper: Dance of the Elves - NEW showpiece for violin and piano!
Hello, I have transcribed (arranged) this popular recital piece by David Popper, originally for cello and piano, for violin and piano. If you are an advanced violinist and need a new encore piece for your recitals, this would be a good one, as it's about 3 minutes long. The original piano part has been re-vamped. It is a whirlwind perpetuum mobile with a most joyous payoff!
It is available for sale on SMP Press, for just $9.99 and you can preview some of the first pages as well:
You can hear how it sounds on this YouTube video:
Questions? Please email me, firstname.lastname@example.org
One of my all time favorite pieces, but killing the orchestra... Well, Jules Massenet Meditation is many times arranged for piano and violin, instead of the original orchestra and violin, and I love the piano version so much. May be it's not that bad.
Yes, it's a very fun piece. Technically it's probably equivalent to what is required of the cellist in the original. No thumb positions on the violin, although some of us do get creative and move the thumb around "beyond where we should".
Paul N., the way I see it, on a cello the notes are much farther apart on the string, so while a cellist in thumb position has an "extra" finger, a violinist could still do the same with four fingers and small "crawling" shifts. But perhaps people who can actually play both instruments could chime in.
As an upright bass player, I can say that use of the thumb is hardly an advantage. The notes are so much father apart that it only just levels the playing field, to have an extra finger at your disposal. The thumb is also pretty clumsy compared to the other 4 digits.
I played "Elfentanz" or "Dance of the Elves" as a child under dad's tutelage - but this one was by someone called Ezra Jenkinson.
I think this discussion has gone slightly off-topic... ;-)
hey Andrew that's the fun aspect of violinist.com; please don't try to cut short interesting side discussions!
Andrew, if you can assure us that profits from the sale of your arrangement are going to charity, I'll accept your rebuke!
Most certainly.... I make a substantial donation every year to Young Musicians and Artists, Inc. www.ymainc.org So, just know that every cent of profit (and I make 45% of $9.99 per copy sold) goes to this noble organization. Not a charity, but back into the arts. And, classical music these days is grossly underfunded. It always has been, really, but wealthy sustaining patrons have kept many a symphony orchestra afloat.
**If anyone wants a printed copy of the piece (printed by a printing service, stapled pages vs. download and print each page yourself after paying SMP Press), please email me for details on how to pay. email@example.com The cost is the same, $9.99, with another $2.50 for shipping within the US or $5.00 for most international shipping. The parts are shipped with a piece of cardboard to ensure integrity.
I wouldn't insist on the charity being registered, and I would imagine Young Musicians and Artists would legitimately count as a charity. Rebuke accepted.
Thank you for your support, John!! Enjoy "Elfentanz"!
Both Jenkinson and Popper's pieces are called Elfentanz, plus, I think, others besides. In my hands, the Popper would probably sound more like Elefantentanz!
Haha Elephantanz, very good. Don't get me wrong, the Popper is a VERY difficult piece. About 20 times harder than that Jenkinson number. I'm sure it's even harder on the cello than on the violin!! I've only heard one live performance of it (on the cello I mean) and the guy who played it was a Juilliard student who came onstage and tossed it off like it was absolutely easy. Well, after hearing it, I decided to transcribe it for the violin. But I had no idea how *really* difficult it was until I got Popper's score and looked at it - and tried to play it a couple octaves higher on the violin. It's playable...but very challenging.
Cellists get to play the very nice transcriptions of violin pieces that Laszlo Varga wrote (my kids have the Brahms d minor sonata on deck), so why not Popper for the violin.
I found a performance by Helena and Martina Baillie on youtube. Ms. Baillie is playing the viola, but being more similar to violin than cello in execution, her performance may answer some questions about the thumb issue...
That's quite something, about the Brahms Sonata #3 being transcribed for the cello...then again, there aren't many passages in the upper register for that piece. It's very autumnal, primarily focused in the lower register of the instrument.
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