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.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.
SKU: HL.48181148
UPC: 888680906801. 9.0x12.0x0.15 inches.
Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The composer wrote for a variety of instrumentations and his works remain popular to this day, Trio for Violin, Cello and Harp being no exception. Composed in 1944, Trio is suitable to advanced level violinists, cellists and harpists. Ibert was a unique composer who did not associate himself with any particular style. His music is generally lighthearted, often reflecting the composer's wit and humour. Containing a variety of musical aspects and techniques, and significantly composed for an unusual arrangement of violin and cello with harp accompaniment, Ibert's Trio is an exciting addition to the advanced level violin, cello and harp ensemble repertoire.
SKU: HL.50601001
UPC: 888680707118. 8.25x11.75 inches.
Commissioned work by the Bergen Philharmonic Orchestra, the Orchestre de la Suisse Romande and the BBC Proms.“'The Infant Minstrel and His Peculiar Menagerie' is a symphonic fantasy for solo violin, choir, and orchestra. Violinist Vadim Gluzman performs the lead role of a traveling musical storyteller who introduces a collection of wondrous tales by the mysterious author Erroneous Anonymous. The Infant Minstrel guides listeners in a voyage of imagination. Auerbach's new composition speaks to the young and the young at heart with child-like, yet enigmatic and humorous poems in the tradition of 'nonsense' authors such as Edward Lear, Lewis Carol, Hilaire Belloc, and Mother Goose, as well as Edith Sitwell, Shel Silverstein, Edward Gorey, and Tim Burton. The text is relevant, yet timeless; absurd, yet profound; simple, yet multi-layered. We meet characters such as the Common Corporant, the Moon Rider, and the Flying Pig that enjoys sitting on a cloud watching the crowd. The work embraces with humor the traditions of the British and Gaelic bard and the troubadour, whose songs told embellished and exotic tales. It also finds inspiration in the menagerie – a diverse collection of creatures and curiosities – and the sideshow presentation of oddities and the bizarre.” (Lera Auerbach).
SKU: HL.367910
ISBN 9781705140451. UPC: 840126966787. 11.0x17.0x0.456 inches.
Premiere Slovak Radio Orchestra, June 30, 1992, Bratislava, Slovakia, Robert Black, conductor; Lydia Forbes, violin. Henry V is an overture, but with a violin protagonist. This is a concerto, but the density of interaction between soloist and orchestra is far more intense than in any previous work, whether classical or modern. Its form is somewhat analogous to sonata, but it middle sectionbreaks away completely from what has come before into an exhilarating 5-8 ostinato. There is a joy in dissonance here, an embracing of pain, and all the sorrow of existence, as part a Gita-like vision of the horrible, terrifying beauty of men throwing themselves into the slaughter, straining their utmost in a joyous ‘dance’of mud and death. As such, the energy of the piece is compact, and onfirst listen, potentially overwhelming. Metaphors of the individual coming out of a society, being influenced by and then interacting with that society, and then finally leading it are strongly evoked by this work in a non-specific, archetypal way. Winner of Marin Symphony (CA) Composers Symposium Competition (1993).
SKU: KJ.123VN
ISBN 9780849735776.
String BasicsTM Solos Book 2 features a collection of 19 solos for recitals, festivals, informal gatherings, or just for fun. This collection includes a mix of classical themes, folk songs, and original solos by Jeremy Woolstenhulme. The solos correlate with String BasicsTM Book 2 and most level 2 method books. Solos progress in difficulty from beginning to end. All instruments have the same set of solos. This solo collection is the perfect supplement for students who do not have a private studio teacher and want to play solo literature.The piano accompaniments by Kirt Mosier are available in a separate book and recorded audio tracks are available for download by using the Kjos Interactive Practice Studio (IPS). The IPS features three tracks for each solo. Track 1 is a complete performance performed by a professional violinist with piano accompaniment. Track 2 is a complete performance of the solo played by either a violist, cellist, or bassist with piano accompaniment. Track 3 is an accompaniment-only track provided for play-along opportunities.
SKU: BT.SINF552
ISBN 9788884004819.
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