SKU: BT.DHP-1185780-400
ISBN 9789043153836. English-German-French-Dutch.
For over three hundred years, great opera singers have held entire audiences under their spell. In so doing, they can call on an etensive repertoire of arias by many important composers. Live at the Opera now makes this precious treasure trove available to instrumentalists, too. Twelve of the most beautiful operatic melodies of all time have been specially arranged for violin and are performed by the renowned violinist Maximilian Lohse. The accompanying audio is performed by an authentic opera orchestra, which also includes a play-along version without soloist. Additionally, this unique collection also includes background info and tips on performance for theindividual arias. Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: twaalf Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor viool en opgenomen door de gerenommeerd violist Maximilian Lohse. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria entips voorde uitvoering opgenomen. Schon seit mehr als dreihundert Jahren ziehen groÃ?e Opernsängerinnen ein ganzes Opernpublikum in seinen Bann. Dabei können sie sich aus einem umfangreichen Arienrepertoire aus der Feder zahlreicher bedeutender Komponisten bedienen. Live at the Opera macht diesen kostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 12 der schönsten Opernmelodien aller Zeiten wurden hier eigens für Violine eingerichtet und werden von dem renommierten Geiger Maximilian Lohse vorgespielt. Ein echtes Opernorchester übernimmt dabei die Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Hintergrundwissen undAusführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung. Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 12 arias dâ??opéras ont été individuellement arrangées pour le violon et enregistrées par le violoniste de renommée internationale Maximilian Lohse. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que deconseilsdâ??interprétation.
SKU: BT.DHP-1033470-404
ISBN 9789043161756. 9x12 inches. International.
Colours of the World is a varied, swinging collection of pieces each of which has its own colour. They include not only tango, blues, tex mex and Cuban but also house, Balkan and folk. To be able to play the pieces well youwill need to have some playing experience: sometimes the third position is used and vibrato is also desirable. However, these fourteen pieces are relatively easy to play and you will gain much pleasure from them. Great attentionhas been paid to the accompaniment recordings which are available online in MP3 format - the musicians are specialists in their field, so each piece has its own original atmosphere.Veertien speelstukken vormen in Colours of the World een prettig en afwisselend geheel. De enigszins handige violist met kennis van drie posities zal zich deze cocktail van stijlen zeker laten smaken. Diverseinspiratiebronnen van over de hele wereld zijn gebruikt, waaronder Hongarije, Cuba, Argentinië, Amerika, Ierland en Marokko, maar ook uit verschillende periodes, bijvoorbeeld de riddertijd. De begeleidingsopnames (online inmp3-formaat beschikbaar) zijn ingespeeld door muzikanten die zijn gespecialiseerd in hun eigen stijl: van stevige rock en tex-mex tot Balkanklanken en housemuziek.Colours of the World ist eine bunte Mischung von Stücken in Stilen aus aller Welt. Dazu gehören z. B. Tango, Blues, Tex-Mex, kubanische Musik, House u. v. m. Die Stücke erfordern ein gutes Rhythmusgefühl undeinen ausreichenden Tonumfang. Die online im MP3-Format verfügbaren Begleitaufnahmen wurden von professionellen Musikern eingespielt. Dabei wurden für die Stilarten typische Instrumente wie z. B. Becken oder Akkordeonverwendet, sodass die Stücke alle eine eigene, ursprüngliche Atmosphäre ausstrahlen.Colours of the World (« Couleurs du monde ») est le recueil idéal pour tout violoniste ayant une certaine expérience du jeu en première, deuxième et troisième positions, et qui souhaite partir ladécouverte de styles et dâ??horizons musicaux nouveaux. Jos van den Dungen sâ??est inspiré de musiques en provenance du monde entier (Irlande, Hongrie, Ã?tats-Unis, Cuba, Argentine, Maroc, entre autres) et de différentes époques.Laissez-vous séduire par les superbes pistes d'accompagnement disponibles en ligne au format MP3. Du rock la house en passant par les sonorités chaleureuses de la musique des Balkans et tex-mex, ce recueil vous proposedâ??excellents moments musicaux.Colours of the World propone musiche in diversi stili musicali quali tango, blues, tex-mex, house, musiche balcaniche e folk. Le registrazioni audio accessibili online come file MP3 permettono di suonare con un accompagnamentofornito da musicisti professionisti.
SKU: 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.
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.844286
ISBN 9780793533008. UPC: 073999442861. 9x12 inches.
60 of McCartney and Lennon's greatest, including: All My Loving* Eleanor Rigby* Help!* I Want To Hold Your Hand* Yesterday* more. Includes discography.
SKU: BT.EMBZ8068
Hungarian-English-German-French.
Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music. Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst.
SKU: BT.EMBZ8065
SKU: BT.EMBZ8069
SKU: BT.EMBZ8066
SKU: HL.49015482
ISBN 9783795754631. 9.0x12.0x0.42 inches. German.
Vol. 3 of 'Die frohliche Violine' pursues the same musical and technical goals as the first two volumes. It contains a detailed introduction to the flat keys, C major key as well as the 2nd and 3rd positions. The last chapter takes up the subject matter of the first chapters again in a more demanding form and with longer charming pieces, giving an insight into 'virtuoso' violin technique.
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