String Trio

SKU: HL.48181148

For Violin, Cello and Harp. Composed by Jacques-Francois Ibert. Leduc. Classical. Alphonse Leduc #AL20341. Published by Alphonse Leduc (HL.48181148).

UPC: 888680906801. 9.0x12.0x0.15 inches.

Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The composer wrote for a variety of instrumentations and his works remain popular to this day, Trio for Violin, Cello and Harp being no exception. Composed in 1944, Trio is suitable to advanced level violinists, cellists and harpists. Ibert was a unique composer who did not associate himself with any particular style. His music is generally lighthearted, often reflecting the composer's wit and humour. Containing a variety of musical aspects and techniques, and significantly composed for an unusual arrangement of violin and cello with harp accompaniment, Ibert's Trio is an exciting addition to the advanced level violin, cello and harp ensemble repertoire.

Violin, Harp & Strings

SKU: SU.33000070

For Violin, Harp & Strings. Composed by Leonardo Balada. Strings, Violin, Strings, String Ensemble, Harp, Harp with Other Instruments. Study Score. Subito Music Corporation #33000070. Published by Subito Music Corporation (SU.33000070).

Violin, Harp & Strings Duration: 14' Composed: 2004 Published by: Beteca Music Performance materials available on rental only:.

Violin & Harp

SKU: SU.50024990

For Violin & Harp. Composed by Claire Polin. Strings, Violin, Harp, Harp with Other Instruments. Performance Score. Seesaw Music Corp #50024990. Published by Seesaw Music Corp (SU.50024990).

Copyright 1985. Published by: Seesaw Music.

Violin & harp

SKU: SU.50026520

For Violin & harp. Composed by Thomas Rice. Strings, Violin, Harp, Harp with Other Instruments. Score & Parts. Seesaw Music Corp #50026520. Published by Seesaw Music Corp (SU.50026520).

Published by: Seesaw Music.

Violin

SKU: HL.50600802

Violin 2 Part. Composed by Carl Philipp Emanuel Bach. String. Classical. Softcover. 7 pages. Sikorski #SIK1440VL2. Published by Sikorski (HL.50600802).

Violin, Viola and Harp Harp, String Trio, Viola, Violin (Set)

SKU: HL.228510

For Violin, Viola and Harp. Composed by Rudolf Maros. Peermusic Classical. Classical. Peermusic Classical #61510-784. Published by Peermusic Classical (HL.228510).

UPC: 680160428250. 9x12 inches.

Violin & Viola (violin, viola; 2222; 4331; timpani, percussion, harp, piano; strings)

SKU: SU.92050110

For Violin & Viola. Composed by Roberto Sierra. Orchestra, Strings, Violin, Strings, Viola. Study Score. Composed 2003. Duration 25'. Subito Music Corporation #92050110. Published by Subito Music Corporation (SU.92050110).

Violin, viola; 2222; 4331; timp, perc, harp, pno; stgs Duration: 25' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Corporation Performance materials available on rental only:.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.46600040L

For violin and Orchestra. Composed by Dan Welcher. Premiere: Paul Kantor, Violin, Aspen Festival Orchestra, conducted by the composer. Contemporary. Large Score. With Standard notation. Composed December 26 1992. 186 pages. Duration 25 minutes. Theodore Presser Company #466-00040L. Published by Theodore Presser Company (PR.46600040L).

UPC: 680160599134. 11 x 17 inches.

Chamber Music Violin

SKU: PR.494031990

Composed by Karen North. Collection - Full. 44+69 pages. Theodore Presser Company #494-03199. Published by Theodore Presser Company (PR.494031990).

UPC: 680160686179.

Lyrical Violin Legends is an exciting collection of 20 works for violin and piano, featuring exclusively commissioned works by contemporary composers and inspiring new arrangements of 19th and 20th century compositions. Listen to the legends, discover beautiful scenes and enjoy lively dances through the alluring lyricism of this music.These exclusive commissioned works and new arrangements are suitable for intermediate level players. The violin part includes biographies of all composers and notes/ performance suggestions for each work.All pieces in Lyrical Violin Legends have free violin & piano recordings to listen to, as well as free piano backing tracks to play along with.Preview pages: https://www.theyoungfluteplayer.com/violin-musicFree recordings: https://www.youtube.com/channel/UCh0MBwKcJUR75_3wXRyYj5QComposers: Johannes Brahms, Antonin Dvorak, Hans Engelmann, Sally Greenaway, Greg Harradine, Jolin Jiang, Scott Joplin, Elena Kats-Chernin, Toivo Kuula, Rachel Laurin, Edward MacDowell, Felix Mendelssohn, Merryl Neille, Heather Percy, Gary Schocker.Specifications:• Contents: 20 pieces• Standard: Intermediate level• Key signatures: up to three sharps and three flats• Time signatures: 4/4, 3/4, 2/4, ₵, 6/8 (including mixed metre).

After Plato's Symposium. By Leonard Bernstein. Arranged by Isaac Stern. (Violin). Boosey and Hawkes Chamber Music. Size 8.5x11 inches. Published by Boosey and Hawkes.