SKU: HL.14009662
UPC: 884088441951. 8.25x11.75x0.011 inches.
SKU: HL.239841
ISBN 9781780382531.
This collection of 50 popular tunes has been carefully arranged and graded to provide attractive repertoire for young violinists. The familiarity of the material will stimulate pupils' enthusiasm and encourage theirpractice.The technical demands of the solo part increase progressively up to the standard of Associated Board Grade 3. The piano accompaniments are simple yet effective and should be within the range of most pianists.
SKU: HL.14041368
ISBN 9788759816745. 10.0x14.0x0.435 inches. International (more than one language).
Summer's Prelude & Winter's Fugue is a fantastic Violin solo, expertly composed by Poul Ruders . This fantastic piece was Commissioned by ARD International Music Competition,Munich in 2009.
SKU: HL.14030983
ISBN 9788759862032. English.
Version for Solo Violin.
SKU: HL.14035070
8.5x11.75x0.524 inches.
SKU: HL.14037289
J.S. Bach's Six Solo Sonatas For Violin, as edited by Dounis.
SKU: HL.14036197
Test piece for the Carl Flesch International Violin Competition.
SKU: HL.14022699
ISBN 9780853605041. English.
SKU: HL.14001858
SKU: HL.14021059
SKU: HL.14026459
8.25x11.75x0.06 inches.
The Works of Henry Purcell, Sonatas I-III.
SKU: HL.14030714
SKU: HL.14035081
ISBN 9780853605317. 8.5x12.0x0.119 inches.
SKU: HL.14011289
SKU: HL.14029692
SKU: HL.14010998
SKU: HL.14026466
The Works of Henry Purcell, Sonatas IV-VI.
SKU: HL.14003995
SKU: HL.14026465
The Work of Henry Purcell, Sonatas IV-VI.
SKU: HL.14018069
English.
SKU: HL.14010093
SKU: HL.14008577
SKU: HL.14009677
SKU: HL.14014623
SKU: HL.14018379
SKU: HL.14018705
SKU: HL.14017039
ISBN 9788759850305. 8.25x11.75x0.155 inches.
Jeppesen's Lille Sommer-Trio in full score and parts for Piano Trio. The Violin parts is equally suited to the Flute.
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.
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