Violin & Viola (violin, viola; 2222; 4331; timpani, percussion, harp, piano; strings)

SKU: SU.92050110

For Violin & Viola. Composed by Roberto Sierra. Orchestra, Strings, Violin, Strings, Viola. Study Score. Composed 2003. Duration 25'. Subito Music Corporation #92050110. Published by Subito Music Corporation (SU.92050110).

Violin, viola; 2222; 4331; timp, perc, harp, pno; stgs Duration: 25' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Corporation Performance materials available on rental only:.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Violin solo

SKU: SU.95010250

For Violin solo. Composed by Judith Lang Zaimont. Strings, Violin. Score. Composed 2006. Duration 2'. Subito Music Corporation #95010250. Published by Subito Music Corporation (SU.95010250).

Violin Duration: 2' Composed: 2006 Published by: Subito Music Publishing.

By Janice Tucker Rhoda. For Violin. Merchandise. Duration 1:00:00. Published by Carl Fischer.

An instructional and performance DVD for violinists of all ages. By Janice Tucker Rhoda. For Violin. Instructional video; performance video. Level: Intermediate. Instructional DVD. Duration 90 minutes. Published by Carl Fischer.

Violin (Violin)

SKU: HL.14021026

Composed by Sir Peter Maxwell Davies. Music Sales America. Exam Material. Songbook . Composed 2000. 4 pages. Chester Music #CH61785. Published by Chester Music (HL.14021026).

8.25x11.5x0.017 inches.

This unaffected but effective piece is a homage to the late Marjorie Linklater, a much-loved friend from Orkney, and a charming set-piece for violinists of moderate ability. The slow introductory adagio serves the function of a fond elegy, proving the simple effect of moving between D minor and D major. It serves the songful quality of the violin, as does the wistful central episode of the main sequence; but an exuberant love of the dance is the essence of the allegro, with the high, bright sonority of the instrument very much to the fore. It was first performed by Julia Robinson Dean at the St Magnus Festival, Orkney, on 21st June 1998. Arranged for solo violin. Duration c. 4 minutes.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.46600040L

For violin and Orchestra. Composed by Dan Welcher. Premiere: Paul Kantor, Violin, Aspen Festival Orchestra, conducted by the composer. Contemporary. Large Score. With Standard notation. Composed December 26 1992. 186 pages. Duration 25 minutes. Theodore Presser Company #466-00040L. Published by Theodore Presser Company (PR.46600040L).

UPC: 680160599134. 11 x 17 inches.

Violin - difficult

SKU: HL.49017998

Six pieces for solo violin. Composed by Alexander Goehr. This edition: Saddle stitching. Sheet music. String. Composed 2006. Op. 78. 20 pages. Duration 24'. Schott Music #ED13050. Published by Schott Music (HL.49017998).

ISBN 9790001147033. UPC: 884088566357. 9.0x12.0x0.138 inches.

'Broken Lute, six pieces for violin alone', is written on a Chinese Ming story, 'The Minister, The Lute and the Woodcutter' from which Goehr has extracted key sentences and placed them at particular points in the score. Animating the poetic text, the virtuosic violin line captures elements of the story's characters taking performer and audiences on a fantastic journey experiencing storms at sea, mountain scenery, friendship and loss.

Solo Violin Violin - difficult

SKU: HL.49012373

For Solo Violin. Composed by Rodion Shchedrin. This edition: Saddle stitching. Sheet music. Violin-Bibliothek (Violin Library). Classical. Composed 1998. 8 pages. Duration 9'. Schott Music #VLB94. Published by Schott Music (HL.49012373).

ISBN 9790001126212. UPC: 073999578744. 8.25x11.75x0.067 inches.

Thema der hintersinnig-virtuosen Variationen ist das Andante aus Leopold Mozarts Sinfonie D-Dur (Eisen D 26).

Violin Solo. By Bright Sheng. (Violin). String Solo. Size 9x12 inches. 12 pages. Published by Schirmer.