SKU: HL.14013005

UPC: 884088810450. 8.5x11.0x0.15 inches.

Gorecki Sonata for two violins, composed 1961. Duration 17 minutes. Suitable for advanced players. Score format.

SKU: PR.144407530

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

SKU: CF.BF115

ISBN 9781491150993. UPC: 680160908493. 9x12 inches.

Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach” (Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.
here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach” (Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.”.

SKU: HL.49005506

ISBN 9790001059237. UPC: 073999221466. 9.0x12.0x0.143 inches.

Violin and basso continuo (harpsichord, piano); cello ad lib.

SKU: HL.48181084

UPC: 888680906689. 9.0x12.0x0.113 inches.

Sonata for Violin and Cello composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire, a professor at the National Conservatoire. Ideal for a recital or for a contest, this sonata in four parts is quite challenging for both instruments and would require advanced skills. The cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso, 2. Vivace, 3. Grave and 4. Allegro Assai. This really nice sonata will be a delight to play and to listen to. Luigi Boccherini (1743-1806) composed numerous pieces for various instruments, including cello duets, chamber music, cantatas, ballets, orchestral music, masses, and a large amount of music for strings.

SKU: HL.49013019

ISBN 9790001128247.

Jarnach wrote three sonatas for solo violin. The second Sonata, Op. 11, was composed in 1913 and is dedicated to Max Reger. With the increase in interest in the music of the early decades of the 20th century, the works of the Busoni pupil Jarnach are experiencing a renaissance in the concert hall.

SKU: HL.50407510

8.25x11.75x0.055 inches.

Sonata for violin solo.

SKU: HL.48185706

UPC: 888680849535. 9x12 inches.

Naji Hakim: Sonata (Violin & Piano).