SKU: HL.14023605
ISBN 9780711992412. 9.25x12.0x0.38 inches.
Drowning By Numbers, arranged by the composer from his sound-track for the film by Peter Greenaway for Violin, Viola, and Chamber Orchestra. This work was commissioned by the London Mozart Players, and first performed December 1998 at the Warwick Arts Centre. Duration 20 minutes. Full Score and parts are available on hire from the publishers. Instrumentation: Solo Violin, Solo Viola, 2 Flutes, Oboe, Cor Anglais, 2 B Flat Clarinets, 2 Bassoons, 2 Horns in F, 2 Trumpets in C, Bass Trombone, Piano, Strings (8.6.4.4.2).
SKU: PR.144405240
UPC: 680160583713.
From the program notes: RUSH : to move or act swiftly; to perform with great haste; to attack suddenly; to entertain; an anxious and eager movement; an onslaught - these were my mental images while tackling a commission from the Polish-born violinist/composer Piotr Szewczyk requesting a short solo work. For advanced performers. Duration: 2' 30.
SKU: FL.FX073279
Instruments: 1 Solo Violin; Difficuly Level: Grade 2; Duration: 1 mn 30 s; Musical Style: Classical, Educational; Category: Arrangement, Republished Master Piece; Composer: Marc Antoine CHARPENTIER; Arranger: Eric VIRETON.
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
SKU: PR.446411020
UPC: 680160096237.
SKU: HL.49003760
ISBN 9790001037587. 8.5x11.75x0.112 inches.
SKU: PR.416414600
UPC: 680160612246. 8.5 x 11 inches.
SKU: HL.50487759
ISBN 9790080140994. A/4 inches. Hungarian, English. Laszlo Tihanyi.
The piece was composed at the request of violinist Eszter Perenyi, my colleague at the Ferenc Liszt Academy of Music, and was several times amond the optional pieces of the yearly violin competition for students. It was inspired by the famous 63rd poem of Catullus that tells the story of Attis: the hero of the Greek mythology arrives at the Mount Ida in Frygia, to the invitation of the goddess Cybele, and becomes her lover. The Gallas, certitude priests of Cybele chase him into delirious dance, by the end of which he castrates himself. On waking from his paralysed dream he entreats in vain for his virility and freedom to Cybele, he will remain servant of the goddess for eternity. My work tells the story in four parts: 1) Attis' ecstasy 2) Dance of the Gallas 3) Attis' dream 4) Attis' entreaty. The Catullian galliambic metric that first appears in the 'prologue' of the piece, becomes the organisational principle of almost all musical aspects of it. (Hungaroton HCD 32484).
