SKU: CU.EC7297
SKU: CU.EC7510
SKU: CU.EC7659
SKU: CU.EC8197
SKU: CU.EC7511
SKU: CU.EC11116
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: PR.114419280
ISBN 9781491132357. UPC: 680160676125.
Inspired by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,†and the Chaozhou tune “Lion Playing Ball.â€II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.
SKU: FG.55011-635-1
ISBN 9790550116351.
In 1929 Sibelius sent some small pieces to the New York publisher Carl Fischer for consideration. Included among these was the Suite for Violin and String Orchestra, to which he had assigned the opus number 117. The Suite for Violin and String Orchestra represents the culmination point in a series of works written for violin and orchestra which started with the serenades op. 69 and continued with the Six Humoresques opp. 87 & 89. Together these works bear witness to the composer's deep insight into the instrumental possibilities of the violin. In these works, more limited in formal scope than the Violin Concerto though they be, the voice of the solo violin - Sibelius' second mother-tongue - unites with the orchestral writing of a mature and experienced symphonist. The reduction and solo part are published together for the first time. ---.
SKU: HL.14041762
9.0x12.0x0.071 inches.
'Romance for violin and piano is a short, reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist, Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing, numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece, the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.' - Helen GrimeBorn in 1981, Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07, Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO, London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding, Oliver Knussen, Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Halle from the.
SKU: FG.55011-723-5
ISBN 9790550117235.
Robert Kajanus (1856-1933) was a highly influential Finnish conductor and composer. He studied in Helsinki and Germany, established the Helsinki Orchestra Society (later Helsinki Philharmonic) and its orchestra school, and was the orchestra's chief conductor for over 50 years. Kajanus is often regarded only as a conductor, but he was indeed a skilled composer whose music is largely unknown. This Urtext volume, edited by Sebastian Silen, contains all of Kajanus's works for violin -- his own instrument. Contents: Nocturne, Menuet ancien, Spiccato, Ronde courante, Air elegiaque, Berceuse (Huutolaistyton kehtolaulu).
SKU: PR.114416650
UPC: 680160624263.
Ran's Violin Concerto is dedicated to phenomenal Israeli violin virtuoso Ittai Shapira, who played the premiere in 2003 with Orchestra of St. Luke's at Carnegie Hall. He also recorded the work with Daniel Barenboim and the Chicago Symphony Orchestra. The piano reduction of the Concerto by Yao Chen is now available.
SKU: HL.14042058
Commissioned by the Milton Keynes City Orchestra. ca. 25 minutes.
SKU: HL.49046938
ISBN 9781705170571. UPC: 196288086284.
Violin and Piano Reduction (from String Orchestra).
SKU: BO.B.3632
Duo-Sonata for violin and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring violin cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.Meanwhile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the violin follows, in octaves, with heartfelt glissando.The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the violin. The main theme is repeated once again, this time with a binary time signature. The violin uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.
SKU: HL.48024685
ISBN 9781784545406. UPC: 888680952594. 9.0x12.0x0.323 inches.
Dating from 2015, this work was a commission from the London Philharmonic Orchestra, Stiftung Berliner Philharmoniker, Swedish Radio Symphony Orchestra, Radio France and New York Philharmonic. Its dedicatee is Frank Peter Zimmermann, whose performance suggestions have been incorporated into the score. Cast in a single 25-minute span, the concerto falls into three movements, plus cadenza. London's Financial Times commented,...there is no lack of technical discipline. The atmosphere, though, is brooding...a panoramic vista opens up of dark clouds over forests and lakes, of repressed passions and baleful desires..
SKU: M7.APUE-516186
ISBN 9781875516186.
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. Composers: 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.
SKU: HH.HH007-KBD
ISBN 9790708024248.
A solemn introductory Grave where the solo violin occasionally breaks out from the repeated chords with short cantabile sections, is followed by a fluent Allegro with difficult sounding passage work, excellently written for the violin. An emotive Grave recitative leads into the final Allegro which arrests attention by the simple device of alternating triplets with semiquaver passages. Eminently suited to amateur and school orchestras!
SKU: BA.BA09099-92
ISBN 9790006565733. 31 x 24.3 cm inches. Key: E minor. Preface: Larry R. Todd.
Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from B�¤renreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer�s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
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