Composer: Ralph Vaughn Williams
Transcribed by Michael Mullinar

Violin: Daniel B. Ziesemer | https://zfpublishers.com
Piano: Jacob T. Bernhardt

Iconic British composer Ralph Vaughn Williams wrote this timeless setting of this ancient folksong for strings, flute and harp. It was later transcribed for violin and piano by Michael Mullinar.

This tune is most often heard at Christmas time since it has become a vehicle for carrying the beautiful lyrics of What Child Is This?

This beautiful ballad of unrequited love was first known to come into existence in the late 14th century, and its original author is unknown. The words and music were falsely believed to be composed by Henry VIII, but it couldn’t possibly be, as the Italian style of the musical arrangement did not come to England till Henry VIII was dead. In 1584, Richard Jones published the words and music as we know them today in A Handful of Pleasant Delights as A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green Sleeves. Nothing else is known of Richard Jones, besides the fact that he made of the time-forgotten ballad Greensleeves the gorgeous version we love today.

This lovely version begins with a dreamy violin and piano duet intro. After a short interlude, the well-loved tune begins, performed skillfully by the sweet voice of the violin, and accompanied once again by the piano, drawing the listener into the enchanting world of love’s bittersweet dreams. Each strain pours forth the soul of the sorrowful but hopeful young man, and brings the tears to the listener’s eye. Mid-song, the violin breaks off into a lilting bridge reminiscent of an Irish folk song, captivating the listener with the unexpected twist - full of sweetness and beautiful melodic notes. The melody of Greensleeves then drifts in, again taking the stage with its heartrending yet joyous air fading at the last into silence, but leaving the song in the listener’s heart.

Notes by Brieanna Savard

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Composer: Felix Borowski (1872-1956)
Violin: Daniel B. Ziesemer
Piano: Jacob T. Bernhardt

First published in 1898, Borowski’s “Adoration” was composed in the early 20th century Romantic style, and set in the key of D major. This regal, reverent piece was one of Borowski’s most popular compositions.

With a beautifully solemn piano intro, the magnificent score begins, the strains of a heartfelt violinist setting the melody and lifting the listener’s souls to Heaven’s heights. So rapturous, so melodic, filling the heart and mind with thoughts of Jesus’ birth, the violin’s song takes center stage throughout.
Rising and falling like the powerful waves of the sea, and fading gently at the last as the tide recedes, the music leaves with a feeling of awe and adoration remaining.

About the composer
Of Polish heritage on his father’s side, Felix Borowski was born in England, the home of his mother. His father was instrumental in laying the foundation for his musical career by teaching him the violin and piano before he took formal education in London and Cologne.

He taught those instruments in Aberdeen, Scotland, before moving to Chicago to be the director of its Musical College. In 1925 he decided to be a private tutor and spent much time composing and critiquing music. The majority of his compositions were pieces written for the piano and violin, while his other works consisted in scores for the organ, symphonies, and orchestral pieces.

Notes by Brieanna Savard

Copyright 2023 by Daniel B. Ziesemer

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Title: On Wings of Song

Composer: Felix Mendelsohn

Transcribed by Joseph Achron

Performed by Daniel Ziesemer & Jacob Bernhardt

A setting of a poem by Heinrich Heine, this song of Felix Mendelssohn is one of his best known. Russian born violinist and composer Joseph Achron transforms this piece into a violin masterpiece. His elaborate paraphrase displays double-stops and tremolos in the violin part as well as rapidly repeated notes and spectacular arpeggios in the piano part making it one of the most difficult of accompaniments.

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Composer: Antony Arensky (1861-1894)
Violin: Daniel B. Ziesemer
Piano: Jacob T. Bernahrdt

This beautiful, short composition, for violin and piano, was first published in 1894, and is the second in a set of works entitled Four Morceaux, Op. 30.

With a sophisticated start, the piece begins, and throughout it, the piano is the background, while the violin is the star - coming in suddenly and fading away gracefully. Toward the end the piano takes the melody while the violin trills and soars above. The violin’s strains contain all the emotions of a sincere, loving heart, rising to a heart-stirring pitch, and dancing from note to note, convincing the hearers of the sincerity of the composer and performer. An unexpected pizzicato brings the serenade to a close.

About the composer
Antony Stepanovich Arensky was a Russian composer, devoted to his trade, who lived from 1861-1906. His musical genre was Romantic Classical.
The majority of his pieces were written for the piano of which he composed over 100, while orchestral and chamber pieces came in close second. Throughout his career, he composed numerous other pieces including operas, ballets, and choral works. The greatest influence upon his music was Pyotr Ilyich Tchaikovsky, some of his songs being based on Tchaikovsky’s. Arensky’s most famous pieces were those written for chamber performances, and this lovely song is one of them.

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Composer: Eduard di Capua (1865-1917)
Arranged: William E. Booth–Clibborn
Violin: Daniel B.. Ziesemer
Piano: Jacob T. Bernhardt

William E. Booth-Clibborn was the grandson of General William Booth, founder of the Salvation Army. He accepted Christ as his savior at the age of twelve and by the age of fifteen was conducting children’s evangelistic campaigns throughout Holland, Germany, Poland and Russia while his parents preached to the adults. He later came to America and settled in Portland, Oregon, where he founded Immanuel Temple. He used this popular Neapolitan melody to carry the good news of Christ’s love and the believer’s grateful worship.

Chorus
Oh, how I love Him, how I adore Him;
My breath, my sunshine, my all in all.
The great Creator became my Savior,
And all God’s fullness dwelleth in Him.

Down from His glory—ever living story—
My God and Savior came, and Jesus was His name.
Born in a manger, to His own a stranger,
A man of sorrows, tears, and agony.

What condescension, bringing us redemption,
That in the dead of night, not one faint hope in sight,
God—gracious, tender— laid aside His splendor,
Stooping to woo, to win, to save my soul!

Without reluctance—flesh and blood His substance—
He took the form of man, revealed the hidden plan;
O glorious myst’ry, sacrifice of Calv’ry!
And now I know He is the great “I Am”!

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Jacob and I are so delighted to share this wonderful piece with you. It is one of our absolute favorite pieces to play and we hope that you will enjoy it as well. While this is one of Fritz Kreisler's lesser known works it is one of his best. Composed later in his career it was a work that Kreisler described this work as a nostalgic portrayal of a bygone Vienna. It is a loving portrayal of the composer's native city which he never revisited after WWII. It is also the final piece that Kreisler recorded. You can hear him playing it with orchestral accompaniment in this recording: https://www.youtube.com/watch?v=vLOLO8OrN3E

Composer: Fritz Kreisler
Violin: Daniel B. Ziesemer
Piano: Jacob T. Bernhardt

© 2023 by Daniel B. Ziesemer

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Composer: Franz Schubert
Transcribed by: Mischa Elman

Performed by Daniel Ziesemer & Jacob Bernhardt

To purchase our albums and sheet music for violin and piano, visit our website https://www.zfpublishers.com/product-category/sheet-music/strings/violin-and-piano/

Copyright 2023 by Daniel B. Ziesemer

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Originally an audio recording from 2010 this rendition of Saint-Saens Introduction and Rondo Capriccioso comes to life with beautiful scenic photography by James Staddon.

Daniel B. Ziesemer, violin
Milana Pavchinskaya, Piano

All photographs by James Staddon, www.lenspiration.photos

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I first heard this beautiful piece on a Heifetz recording and always thought that it would be nice to learn. When I was asked to play a solo prelude for the Good Friday service I knew exactly what it would be. Written by a French contemporary of J. S. Bach this lovely Largo has just the right balance of sorrow and hope. It is arranged to be played entirely on the G-string.

Composer: Louis-Nicolas Clerambault (1676-1749)
Arranger: Georges Dandelot

Daniel Ziesemer, violin
Marianne Kim, organ

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