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: TL.TCL014887
ISBN 9780857364616.
Selected pieces for Trinity College London violin exams for 2016-2019, expertly graded and edited by leading music educators. This item contains only the violin part.
SKU: TL.TCL014702
ISBN 9780857364432.
Selected pieces for Trinity College London violin exams for 2016-2019, expertly graded and edited by leading music educators. This item contains both the full score and violin part.
SKU: TL.TCL014962
ISBN 9780857364692.
This audio CD contains exam pieces on the Trinity College London Violin syllabus for 2016-2019, featuring renowned violinist, Ofer Falk. (alternative pieces are not included). In addition to full recordings of each piece, the CD also includes 'minus one' style backing tracks, allowing students to practise with the piano accompaniment played by Peter Wild.These recordings are not definitive but may be employed as an aid to preparation for Trinity College London examinations.
SKU: BT.WH31276
ISBN 9788759821916. English.
Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra. Full Score. Ensemble Violin Solo Piano Solo bring a Marimba mallet for playing inside the Piano String Orchestra (6-6-4-4-2) the number of string players may be doubled, 12-12-8-8-4 if doubling the strings then Desk 1 means Desk 1+2, Desk 2 means 3+4 etc. Performance Notes General: The set-up on stage is important, with two Violin groups on each side on the platform: Vilin 1 lefts and Violin 2 right, as seen from the audience 1st Movement : In bar 1 &, 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normalintonation should be used. The slow and rhythmical vibrato pulse should follow the accents 2nd Movement : The 10/5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar 3rd Movement : no comment 4th Movement : The very high harmonics are intended as mostly a high 'airy' sound. The small gliss/portamenti that will invariably occur in the fast shofts of positions are intended.
SKU: TL.TCL014870
ISBN 9780857364609.
SKU: TL.TCL014696
ISBN 9780857364425.
SKU: HL.48025121
ISBN 9781784546465. UPC: 196288079750. 9.0x12.0x0.086 inches.
The Boosey and Hawkes Easy String Music series by Katherine and Hugh Colledge contains four volumes of repertoire for new and developing string players. Popular with teachers and students alike, each title steadily introduces and consolidates new techniques, fingerings, notes and rhythms to build firm foundations for future learning. Demonstration and accompaniment audio resources are available online for all volumes in the series. Each title is available in two editions - a standalone string book for students or an expanded edition with additional piano accompaniment. The 26 pieces of Waggon Wheels form the second volume of the series. They cover 3rd and 4th finger notes and slurred bowing.
SKU: HL.14010573
ISBN 9780711987463. UPC: 884088426101. 9.0x12.0x0.335 inches. English.
The 2nd, 4th and 5th positions are introduced, also trills, double stopping, chords, spiccato and sautille bowings. Each new technique is demonstrated in a short study. The difficulties of each hand are isolated and only one point intouduced at a time. A separate piano accompaniment section is included within this volume.
SKU: TL.TCL014955
ISBN 9780857364685.
SKU: BT.MUSM570202089
English.
For solo Violin. First published in 1998. First performance by Vania Lecuit, ISCM, World Music Days in Luxembourg, 4th October 2000.
SKU: AP.12-0571514367
ISBN 9780571514366. English. Johannes Brahms; Traditional; Edward Elgar; Domenico Gabrielli; George Frideric Handel; Hans Georg Nageli; Joseph Parry; Niccolo Piccinni; Spiritual; William Steffe; Thoinot Arbeau.
Easy repertoire in 2nd, 3rd and 4th positionsAchieving security of fingering, tone and intonation in positions other than first is one of the major technical challenges that every young violinist has to tackle. This book offers a carefully selected and edited sequence of short attractive repertoire pieces, suitable for examination or concert use, each focussing on a particular position or mixture of positions. The material is drawn from a wide range of styles, from baroque to popular tunes, and will appeal to all young players. Expertly arranged piano parts are simple enough for most teachers to tackle with ease. An invaluable addition to the string teaching repertoire.
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