SKU: HL.49045340
ISBN 9790001202558. UPC: 841886030787. 9.0x12.0x0.094 inches.
This work by 17-year-old Fazil Say is from the early creative period of the Turkish composer. Supported by Aribert Reimann and David Levine, he composed the four pieces for the 750th anniversary of the founding of Berlin, and they were premiered during the celebrations in 1987. The first monodic piece already shows the oriental melody that became more pronounced later, whereas the other pieces surprise with novel tone colours, inside-piano effects and specific rhythmic features.
SKU: HL.50487758
ISBN 9790080140987. 9.0x12.0x0.31 inches. Hungarian, English, German.
Violin ABC is the perfect volume for pupils to familiarize themselves with the instrument, basic musical elements, and the sensation of moving naturally while playing. Its editors comprise renowned Hungarian experts in the field of violin pedagogy, and their aim was to create a publication that allows children to have a joyous first encounter with the violin. Violin ABC helps students learn to have calm, relaxed posture and movements through playful illustrations. That way, those who want to play the violin can get a worthwhile introduction to the basics of the violin repertoire through various folk songs and beautiful music examples.The legendary violinist, Yehudi Menuhin (1916 - 1999), had this to say about the publication: ''I am delighted to see a work on the teaching of the violin stress the importance of the preparation of our body and limbs, of our minds and our soul, independently of the instrument itself. I have always said that, ideally, I would like the preparation to be so complete and thorough and enjoyable, that when a child first picks up a violin and a bow, it will draw a clean sound.')' - Yehudi Menuhin (1916 - 1999).
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
SKU: HL.49047324
ISBN 9798350121971. UPC: 196288201410.
SKU: BR.EB-9407
ISBN 9790004188811. 9 x 12 inches.
With his Six Morceaux , Raff created a collection of six short pieces with the aim of pleasantly entertaining many a listener and demonstrating that he was also capable of writing something easy. After all, he had made a name for himself in the years before with extremely demanding chamber music for renowned dedicatees. The Six Morceaux , dedicated to the violinist Ludwig Straus, on the other hand, are probably related to Raff's teaching activities at a private piano school in Wiesbaden at that time. Therefore, with the individual pieces varying in difficulty they are well suited for violin lessons without losing any of their musical ambition. The most famous piece is probably the Cavatina. Arranged for various scorings during Raff's lifetime, it continues to be one of the most popular Encore pieces altogether - Fritz Kreisler, Yehudi Menuhin and Itzhak Perlman have made recordings of the piece. They say that a piano quintet version was even heard on the Titanic . This modern Urtext edition is based on the first printing, supervised and initiated by Raff himself. In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: BO.B.3414
English comments: Concertino for violin and string orchestra was composed in 1993. It is a pleasant score with a slightly virtuosic touch written with the idea of creating a relaxed atmosphere in which the soloist and the orchestra can display their technique and expressive capabilities. It is a work, similar in lenght to baroque concertos, and is divided into three movements, folowing the conventional form.: two fast movements around a slow one. Te first two movements -Allegro burlesco and Adagio cantabile- follow the ABA pattern. The third starts with a -cadenza- by the soloist which includes thematic material from the previous slow movement linking straight up to the -Presto- which uses as its main idea a more forceful version of the opening melodic sketch of the -Allegro burlesco- converted into three time. The work was specially creatied for the violinist Gerard Claret and the Orquestra de Cambra Nacional d'Andorra. Recordings: Hermitage Orchestra-Camerata St. Petersburg, violin: Sergey Malov, conductor: Alexis Soriano. Ensayo (ENY-2003). Jordi CervelloComentarios del Espanol:Concertino para violin y orquesta de cuerda es una obra compuesta en 1993. Se trata de una partitura amable y de cierto toque virtuosistico cuya principal preocupacion ha sido crear una atmosfera distendida en la que el solista y la orquesta puedan desplegar con espontaneidad sus capacidades tecnicas y expresivas. Es una obra de duracion similar a la de los conciertos del barroco y dividida en sus tres tipicos movimientos. Dos rapidos enmarcando uno lento. Los dos primeros -Allegro burlesco y Adagio cantabile- se desarrollan bajo el esquema ABA. El tercero inicia con una -cadenza- del solista que recoge material tematico del movimiento lento precedente para enlazar sin interrupcion con el -Presto- que utiliza como idea principal el dibujo melodico que abre el -Allegro burlesco-, pero mas decidido y a compas ternario. La obra fue compuesta expresamente para el violinista Gerard Claret y la Orquestra Nacional de Cambra d'Andorra. Grabaciones: Hermitage Orchestra-Camerata St. Petersburg, violin solista: Sergey Malov, direccion: Alexis Soriano. Ensayo (ENY-2003) Jordi Cervello.
SKU: HL.14036014
ISBN 9788759859667. UPC: 884088573003. 8.25x11.75x0.146 inches. French.
This version for Violin with Piano reduction by Professor Issay Barmas.
SKU: HL.48025296
UPC: 196288174325.
“Being Russian born I have a strong connection to the ballet scores of Tchaikovsky, Prokofiev and Stravinsky, and as a result in theWild Swans, more than in any other work of mine, I allowed myself the freedom to roam through 200 years of musical genres, ranging from Hungarian Operetta through folk music and even including the influences of jazz and popular music,†says Elena Kats-Chernin. The full-length work, which premiered in Sydney in 2003, was written for choreographer Meryl Tankard after the two artists had already worked together for the opening ceremony of the 2000 Olympic Games, and became one of the composer's greatest successes. Many excerpts in various arrangements have a concert life of their own today - including the world-renowned Eliza Aria. Arranged by the composer in 2004 for violin and piano after the original orchestral version, the half-hour suite comprises ten characteristic movements: Green Leaf Prelude, Eliza Aria, Brothers, Wicked Witch (piano solo), Magic Spell Tango, Glow Worms, Darkness of the Forest, Eliza and the Prince, Mute Princess, Transformation.
SKU: HL.48025078
ISBN 9783793143222. UPC: 196288059769. 9.0x12.0x0.045 inches.
Elena Kats-Chernin has collaborated with writer Joanna Murray-Smith several times, most recently on the TV soap opera The Divorce. ANostalgic Piece was originally composed as incidental music for the Australian author's play Honor and has had many lives and titles since then, says Kats-Chernin. It's a melancholy, catchy tune that would go well with the sad tramp of an old silent film. The version for violin and piano appeared in 2005 on her portrait CD Ragtime & Blue on the Signum Classics label.
SKU: HL.50600469
8.25x11.75x0.14 inches.
“I belong to that group of people who appropriate Debussy's wonderfully formulated philosophy according to which music begins where words end. Contrary to a view that has become widespread during the past 100 years, I am convinced that the task of the composer is to write music, not to talk about it. Even if my technical and aesthetic commentaries on one of my compositions were to have a certain value for listeners, such a commentary would have the effect that I were more or less forcing my own vision of the work onto the listener. The power of music is, however, a gift that makes it capable of calling forth different reactions in listeners. I shall therefore limit myself to saying that the 'Imaginary Variations' were inspired by the wonderful recordings of Janet Packer that I listened to with the greatest pleasure prior to the beginning of my work. The title is derived from the fact that this composition is structured similarly to the classical variation form and that the audience can listen to the constant changes of the musical ideas. In truth, however, the twelve short sections of the work are not true variations even though they reveal some connections and similarities.†(Krzysztof Meyer).
SKU: HL.49045109
ISBN 9790001203937. 9.0x12.0x0.083 inches.
'Should muses be silent while the guns speak?' asks Jorg Widmann, who was only 20 years old when composing this piece, with his Trio for Clarinet in B flat, violin and piano, a musical essay on three tones.
SKU: SU.27020060
Single movement work. Violin, Piano Duration: ca. 9' Composed: 2008 Published by: Distributed Composer.
SKU: HL.49019151
ISBN 9790543504455. 9.0x12.0x0.136 inches.
SKU: HL.49019152
ISBN 9790543509689. 9.0x12.0x0.091 inches.
SKU: HL.49019154
ISBN 9790543509672. UPC: 840126938999. 9.0x12.0x0.105 inches.
SKU: HL.134458
Author: Bauer.
SKU: BR.EB-9413
ISBN 9790004188873. 9 x 12 inches.
For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.
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