Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

With Suggested Chordal Accompaniment. Composed by Craig Duncan. Violin,Guitar: Gospel and Sacred,Style,Featured Products,Duets and Ensembles,Solos,Duets and Ensemble,Solos,Holiday: Christmas,. 100 Hymns. Book. 124 pages. Published by Mel Bay Publications, Inc

(Violin Easy Instrumental Play-Along Book with Online Audio Tracks). Composed by Various. For Violin (Violin). Easy Instrumental Play-Along. Softcover Audio Online. 8 pages. Published by Hal Leonard

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

Solos with Ensemble Arrangements for Two or More Players. Arranged by Stan Pethel. (Violin). Daybreak Christmas Choral. Sacred. Size 9x12 inches. 22 pages. Published by Daybreak Music.

Composed by Josh Hummel. String ensemble. For string quartet (with optional oboe). String ensembles. Christmas. Intermediate. Score and parts. SoundForth #243352. Published by SoundForth

Composed by Kevin Hildebrand. Book. Concordia Publishing House #977959. Published by Concordia Publishing House

For Violin. Composed by Various. Music Sales America. Classical Period, Broadway and Folk. Violin solo book (no accompaniment, softcover). 96 pages. Music Sales #AM33671. Published by Music Sales

Arranged by And Ed. Joanne Martin. For Viola Part. String Ensemble - Mixed. 16 pages. Published by Alfred Publishing.

Arranged by and ed. Joanne Martin. For 3rd Violin Part. String Ensemble - Mixed. 16 pages. Published by Alfred Publishing.

Arranged by And Ed. Joanne Martin. For Bass Part. String Ensemble - Mixed. 16 pages. Published by Alfred Publishing.

Tenor & String Quartet

SKU: PE.EP72822

Composed by Jonathan Dove. Voice(s) & Various Instruments. Edition Peters. Living Composer. Score and Part(s). 164 pages. Duration 00:30:00. Edition Peters #98-EP72822. Published by Edition Peters (PE.EP72822).

ISBN 9790577011769. 232 x 303mm inches. English.

I have only visited Damascus once, twenty years ago, on the way to Palmyra.  I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist.  Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.

In Palmyra, I was met with extraordinary kindness everywhere.  On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.

Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed.  When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.

I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine.  I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation.  In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry.  It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.

In setting these words, I have not attempted to imitate Syrian music.  However, there is what might be called a linguistic accommodation in my choice of scale, or mode.  Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation.  This eight-note mode is similar to scales found in Syrian music.  I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words.  In this work, its Arabic aspect is more prominent. - Jonathan Dove

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