Piano Accompaniment; Violin (Score and Solo Part) - advanced to difficult

SKU: HL.49019599

Three Poems for Violin and Piano. Composed by Karol Szymanowski. Edited by Ida Bieler and Wolfgang Birtel. Arranged by Ida Bieler. This edition: Saddle stitching. Sheet music. String. 20Th Century, Classical. Softcover. Op. 30. 72 pages. Schott Music #VLB174. Published by Schott Music (HL.49019599).

ISBN 9790001191043. UPC: 841886019546. 9.0x12.0x0.187 inches. Eds. Wolfgang Birtel and Ida Bieler.

Karol Szymanowski (1882-1932) is regarded as one of the most important Polish composers since Chopin. He received his formative musical training in Warsaw where he lived for many years and was also director of the Conservatoire and Music Academy. His compositional oeuvre comprises a large variety of styles: Szymanowski first leaned towards Chopin and Scriabin, then studied Richard Strauss and Igor Stravinsky, finally finding a style in which he combined impressionism and expressionism. His 'Mythes' for violin and piano from 1915 fell in a transitional period, turning away from late German Romanticism. They are expressive miniatures full of tonal refinement and impressionist charm and, thanks to their accessible virtuosity, perfect performance pieces. Contents: I. La Fontaine d'Arethuse • II. Narcisse • III. Dryades et Pan.

Chamber Music Clarinet, Piano, Violin

SKU: CF.MXE71

Composed by Martin Bresnick. SWS. Contemporary. Set of Score and Parts. With Standard notation. 23+6+5 pages. Carl Fischer Music #MXE71. Published by Carl Fischer Music (CF.MXE71).

ISBN 9781491144749. UPC: 680160902248. 9 x 12 inches.

The day that Australian and New Zealand forces joined the Allies for an invasion of the Gallipoli Peninsula of Turkey in World War I, with disastrous consequences, is celebrated in Australia as Anzac Day (Australian and New Zealand Army Corps). To honor this special day, Bresnick takes inspiration from two selected poems by Bertolt Brecht (And I Always Thought and Legend of the Unknown Soldier Beneath the Triumphal Arch). Commissioned to commemorate Australia’s Anzac Day, similar to Memorial Day, and inspired by two Brecht poems…The somber opening violin and clarinet lines unfolded to haunting effect before eventually reaching a fervent climax. --Vivien Schweitzer, The New York Times.

The Kurfursten Sonatas Op. I - Revised Edition - for Violin and Piano. By Wolfgang Amadeus Mozart. Edited by W.-D. Seiffert. Violin. Pages: Score = XVII and 97 * Vl Part = 29. Urtext edition-paper bound. Published by G. Henle.

By Nicolo Paganini. Edited by Becker. For violin, piano. Moto perpetuo,Op.11; Le Carnaval de Venise,Op.10; I Palpiti,Op.13; Le Streghe,Op.8. Published by C.F. Peters.

Zwolf Konzerte for Violine, Streicher und Basso continuo. Composed by Antonio Vivaldi (1678-1741). Edited by Bettina Schwemer. Arranged by Andreas Kohs. This edition: urtext edition. Paperback. Barenreiter Urtext. Volume I: I-VI. Score, Part(s), anthology. Opus 4. Baerenreiter Verlag #BA07566-90. Published by Baerenreiter Verlag

Chamber Music violin, piano

SKU: PR.114419280

Composed by Chen Yi. Arranged by Wong Tak Chiu. Performance Score. 32+12 pages. Duration 20 minutes. Theodore Presser Company #114-41928. Published by Theodore Presser Company (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.”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.

Violin and Piano. By Hilary Hahn. By Various. Boosey and Hawkes Chamber Music. Classical, Contemporary. Softcover. 340 pages. Boosey and Hawkes #M051107933. Published by Boosey and Hawkes (HL.48023059).

Chamber Music Cello, Piano, Violin

SKU: PR.114422690

Composed by Stacy Garrop. Sws. Set of Score and Parts. 8+2+2 pages. Duration 5 minutes. Theodore Presser Company #114-42269. Published by Theodore Presser Company (PR.114422690).

UPC: 680160684809. 9 x 12 inches.

In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,
Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the
gift of time, space, and support to follow their artistic pursuits; we are provided with
studio space, housing, and meals so that we can work continuously on our projects. I have
been in residence at numerous artist colonies; however, nothing in my previous
experiences prepared me for living in such isolated, wild country. Ucross is situated on a
20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people
living within the town. But what Clearmont lacks in population, it makes up for
abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards
from Wyoming to offer three glimpses of what I found to be the most striking aspects of
my residence. The Solitude of Stars, the third and final movement of the original sextet,
was inspired by the stunning nightly display of the heavens above. Without city lights
dimming the night sky, countless stars shone brightly over the vast expanse of the prairie.
This edition is part of The Solitude of Stars Project that I undertook during the 2020
COVID-19 pandemic, which consists of a series of arrangements that I made for
colleagues and friends.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.

By Various. Arranged by Brent Jorgensen. For Violin and Piano. Published by Jackman Music Corporation.
Level: Medium Easy.

Chamber Music Clarinet, Piano, Violin

SKU: PR.164002390

Composed by Dan Welcher. Set of Score and Parts. With Standard notation. Composed 1995. 26+14+14 pages. Duration 14 minutes. Theodore Presser Company #164-00239. Published by Theodore Presser Company (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.

And Piano,- Version for Violin and Piano. By Robert Schumann. Edited by W. Haug-Freienstein. Violin. Pages: Score = VII and 29 * Vl Part = 8. Edition for Violin-paper bound. Published by G. Henle.

Violin and Piano. By Edward Huws Jones. (Violin). Boosey and Hawkes Chamber Music. Size 9x12 inches. Published by Boosey and Hawkes.

Chamber Music Cello, Piano, Violin

SKU: PR.114423360

Composed by Stacy Garrop. Set of Score and Parts. 24+12+12 pages. Duration 8:30. Theodore Presser Company #114-42336. Published by Theodore Presser Company (PR.114423360).

UPC: 680160686285.

When the Newport Music Festival commissioned me for a piano trio in honor of their 2021 season, I looked for a topic that would celebrate an aspect of the Newport community. While researching the area, I was struck by the nine lighthouses situated around the island. The dual nature of lighthouses was particularly appealing to me: not only do they serve a vital role in the navigation of ships around rocks and land, but they are also a beautiful sight, particularly at night when their blinking beacons are clearly visible to the eye. It occurred to me that lighthouses link the past with the present, and will endure long into the future, with their beacons serving the same purpose for every generation.I became fascinated with the lighthouse on the property of Castle Hill Inn, located at the opening of the East Passage of the Narragansett Bay. This squat thirty-four foot granite structure was erected in 1890 on a very picturesque spot, right at the water’s edge. Its “characteristic,” the nautical term for each lighthouse’s unique light sequence that allows ships to identify the lighthouse, is to alternate on for three seconds, then off for three seconds. The lighthouse has also served as the starting and finish line for numerous high profile yacht races, as well as survived a massive hurricane in 1938, though the lighthouse keeper’s nearby residence wasn’t so lucky. American novelist Thornton Wilder wrote much of his 1973 novel Theophilus North while staying at the Castle Hill Inn; a passage from the book perfectly captures the dual nature of lighthouses:“At a later visit I was able to engage the pentagonal room in a turret above the house; from that magical room I could see at night the beacons of six lighthouses and hear the booming and chiming of as many sea buoys.”In Beacon of the Bay, we first hear the lighthouse’s characteristic as its ruby light blinks on and off. This is followed by a simple theme that represents the lighthouse performing its solitary duty. As the piece progresses, we hear waves playfully lapping around its base, then yachts gracefully floating by; this is followed by a violent storm that churns the waves with so much force that they crash against the lighthouse’s granite body. But the steadfast lighthouse holds firm to the rocks, grandly blinking its ruby light. The music quiets back down to its simple theme, with yachts sailing by once more as the piece concludes.

Piano; Violin - intermediate

SKU: HL.49019514

Violin and Piano. Composed by Joe Duddell. This edition: Saddle stitching. Sheet music. String. Classical, Contemporary. Softcover. Composed 2010. 24 pages. Duration 9'. Schott Music #ED13358. Published by Schott Music (HL.49019514).

ISBN 9790220132575. 9.0x12.0x0.111 inches.

“All Stars Aligned was originally to be a set of variations on a theme that is almost hidden in the opening bars. However, the piece took on much more of a fantasia feel and shape as I wrote it and it could be argued that a second theme first heard in the violin of the ground (derived from material in bar 5) becomes more dominant than the first as the piece progresses. The piece is in one continuous movement but is in three distinct sections and tempi: medium, slow and fast. The material shares some similarities with my piano trio, Nightswimming, and in some ways can be seen as a companion piece (minus the cello of course). The title comes from a track on an album by the artist St. Vincent called Marry Me which I hope is appropriate for a piece commissioned to celebrate a wedding anniversary.” Joe Duddell 2010.