SKU: PR.446412120
UPC: 680160607419. 8.5 x 11 inches.
SKU: SU.28110021
Grand romantic Violin Concerto following in the footsteps of Barber Violin & Piano reduction Duration: 27' Composed: 2016 Published by: Distributed Composer Listen on Youtube: Performance materials available on rental only:.
SKU: SU.28100041
Commissioned by Daniel Hope, the Zurich Chamber Orchestra, New Century Chamber Orchestra, and Savannah FestivalViolin & Piano (reduction) Duration: 26' Composed: 2017 Published by: Distributed Composer Also available: Study Score (Cat. #28100040) Performance materials available on rental only:.
SKU: HL.14023605
ISBN 9780711992412. 9.25x12.0x0.38 inches.
Drowning By Numbers, arranged by the composer from his sound-track for the film by Peter Greenaway for Violin, Viola, and Chamber Orchestra. This work was commissioned by the London Mozart Players, and first performed December 1998 at the Warwick Arts Centre. Duration 20 minutes. Full Score and parts are available on hire from the publishers. Instrumentation: Solo Violin, Solo Viola, 2 Flutes, Oboe, Cor Anglais, 2 B Flat Clarinets, 2 Bassoons, 2 Horns in F, 2 Trumpets in C, Bass Trombone, Piano, Strings (8.6.4.4.2).
SKU: SU.80601560
Violin and String Orchestra Composed: 2008 Published by: E.B. Marks Solo part and Piano Reduction available from Hal Leonard. Parts available on rental only.
SKU: SU.94010611
Includes Solo Violin part and Piano reduction scoreInstrumentation: Violin & Piano (reduction) Duration: 30' Composed: 2018 Published by: Subito Music Publishing Performance materials available on rental only from the Subito Music Rental Library.
SKU: GH.NMS0526
Arrangement for violin or cello and piano by K Raid. Also available in version for string orchestra (arr. Raid), or two violins and two violoncellos (original version).
SKU: AP.48645
ISBN 9781470643539. UPC: 038081557403. English.
Fantastic repertoire for fun that also builds reading, listening, and ensemble skills! Intended for first- and second-year players, this creative collection presents seven original rounds, each written from the scrambled notes of a traditional tune that students are challenged to identify. Whether in the classroom or on the concert program, the mystery delights one and all. Designed for maximum flexibility, these pieces may be performed with as few as four like instruments, or with as many instruments as desired, divided into four groups. Upper strings can be combined, or lower strings can be combined. For an ensemble that contains both upper and lower strings, ensemble accompaniment parts have been provided. The score contains a reproducible piano accompaniment as well. With so many options for instrumentation, Seven Mystery Melodies offers a unique, easy-to-use collection for teachers and beginning string students.
SKU: HL.14035706
ISBN 9780711930070. 9.25x12.0x0.37 inches.
This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words I broke off a golden branch come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Duration: c.15 minutes.
SKU: NR.98121
SKU: HL.49005479
ISBN 9790001058889. UPC: 073999289855. 9.0x12.0x0.151 inches.
Originally entitled ,Music of Sorrow', the work was written in 1939, duringthe first months of World War II. It is Karl Amadeus Hartmann's onlyviolin concerto and at the same time his most famous piece. Hartmann wanted the final chorale to be seen as an expression of confidence in hard times.
SKU: HL.233289
12.0x9.25x0.43 inches.
Score and separate parts with spiral-bound keyboard/organ part. Number 5, 1950 was Mark Rothko's last painting before the breakthrough into his mature format. In it the luminous color fields of a classic Rothko are inscribed across the middle with three delicate lines. Describing this painting and its pivotal position in Rothko's work, Brian O'Doherty observes: 'After this, the lines disappear completely.' In recent years gesture and figuration have disappeared from my music. What used to be background has emerged to become a musical world composed entirely of floating color fields. In this new world I've changed media, moving from the orchestra to smaller combinations of acoustical instruments and electronically-processed sounds. I still think in orchestral terms, but this hybrid medium allows me to create orchestral textures for more practical and readily available ensembles. Initially I imagined this as a kind of monolithic music -an entire piece as one rich and complex sound. Then I came to hear it as homophonic or heterophonic. And now - in this musical world that I thought was completely free of lines - I've come to hear a polyphony of harmonic clouds. Maybe the lines never disappear completely. Maybe Christian Wolff was right when he quipped: 'No matter what we do, sooner or later it all sounds melodic.' - John Luther Adams.
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