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: M7.MGSZ-279

ISBN 9783927985278.

Nach 40-jähriger Praxis als Orchestermusikerin und Geigenlehrerin ist Maria Marek Moscher überzeugt: Geige spielen macht nur dann wirklich Freude, wenn der Körper dabei nicht leidet. Gesundheitliche Beschwerden und körperliche Störungen aller Art sind gerade bei Berufsmusikern recht häufig und lassen sich in ihren Anfängen bereits bei so manchem kleinen Geigenschüler finden. Der Weg zu einem freien und natürlichen Spiel führt über eine unverkrampfte Haltung des Instruments, die von Anfang an aufmerksam beachtet werden muss. Bald stellt sich dann das Gefühl aktiver Entspanntheit ein, das nicht nur ein gesundes, sondern auch technisch besseres Violinspiel ermöglicht. Wie ein solches Violin- und Violaspiel vom Anfang an leicht und mühelos zu erreichen ist, zeigt Maria Marek Moscher in ihrer Violin- und Violaschule Frei und mit Freude spielen, jeweils in drei Bänden. Die theoretischen Grundlagen dieser Methodik, die von Anfang an klare und klangvolle Töne gestalten lässt, hat Maria Marek Moscher für alle Pädagogen, Musiker und Laien in ihrem Buch, mit selbem Titel Frei und mit Freude spielen, zusammengefasst. Sie analysiert die Grundlagen der Instrumentalhaltung und die Bewegungsabläufe, welche entscheidend für die weitere musikalische Entwicklung sind. Die methodische Vorstellung ist durch Zeichnungen unterstützt. Das autodidaktische Erlernen ist dadurch möglich, auch Korrekturen in Bewegungsabläufen im späteren Stadium des Spielens hilft das Buch durchzuführen. Auf musiktherapeutischem Gebiet kann das Violin- und Violaspiel zur Förderung des Geistes und einer harmonischen Körperhaltung eingesetzt werden.

SKU: SU.17150330

This CD Sheet Music™ collection brings together over 600 songs and song cycles (in alternate keys for low voice) by composers from the Classical and Romantic eras: Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn, Johannes Brahms, and Hugo Wolf. Beethoven: over 70 songs including: Ah! Perfido, An die ferne Geliebte, Songs, Op. 75; 2 Songs from Egmont, Op. 84; plus 29 songs without opus Brahms: over 200 songs including: An den Mond, Mädchenlied, Mondscheinen, Nachtigall, Sommerabend, Ständchen, Four Serious Songs Mendelssohn: over 70 songs including Frühlingslied, Morgenslied, Der Mond, Geistlisches Lied, Der Blumenkranz Mozart: over 20 individual songs including: Lied zur Gesellenreise, K. 468; Lied der Freiheit, K. 506; Das Kinderspiel, K. 598 Wolf: over 100 songs including: from Mörike Songs, Eichendorff Songs, Goethe Songs, Michelangelo Songs, Spanish Songbook (Spiritual Songs & Wordly Songs) The Italian Songbook (Volumes I & II) Added features: alphabetical indexes for searching by title, first line or poet Also includes: composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1800+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.