SKU: CF.BF142
ISBN 9781491160145. UPC: 680160918744.
The 22 holiday classics contained in this collection have been carefully arranged for any combination of string trio. The melodies, both sacred and secular, cover many centuries and originate in Western Europe and the United States. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed in a variety of venues from church services to holiday gatherings. This Compatible String Ensembles collection of Christmas Trios will set the mood in any environment.This Series is Available for:Violin BF142Viola BF143Cello BF144Bass BF145.The 22 Christmas tunes contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part. This three-part format follows a standard order: part 1 is melody, part 2 is harmony, and part 3 is a traditional bass line. Optional 8va markings are sometimes given to help the voicings sound better.The selections have been arranged in alphabetic order. The melodies, both sacred and secular, cover many centuries and originate in Western Europe and the United States. Each work is in the public domain and was selected for both its quality and musical interest.Arranged specifically for a chamber setting, the trios may be performed in a variety of venues from church services to holiday gatherings. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, and some fingerings have been added to show the direction of shifts beyond first position.—Todd ParrishOrchestra Editor, Carl Fischer MusicJune 2021.
SKU: CF.BF163
ISBN 9781491164310. UPC: 680160923168.
The 23 holiday classics contained in this collection have been carefully arranged for any combination of string duet. Providing a range of keys, style, and difficulty level, melodies include favorite carols and familiar movements from Tchaikovsky's Nutcracker Suite. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. Arranged specifically for a chamber setting, the flexible duets may be performed by any combination of string instruments in a variety of venues, from church services to holiday gatherings. This Compatible String Ensembles collection of Christmas Duets will set the festive mood in any environment.The 23 holiday classics contained in this collection have been carefully arranged for any combination of string duet. Providing a range of keys, style, and difficulty level, melodies include favorite carols and familiar movements from Tchaikovsky's Nutcracker Suite. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. These flexible duets may be performed by any combination of string instruments in a variety of venues, from church services to holiday gatherings. This Compatible String Ensembles collection of Christmas Duets will set the festive mood in any environment.
SKU: CF.BF132
ISBN 9781491158678. UPC: 680160917310.
The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The selections span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting.The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part.The selections have been arranged in chronological order. They span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting.All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, while fingerings have been left to the individual performers to decide.
SKU: CF.BF159
ISBN 9781491162163. UPC: 680160920914.
The 26 masterworks contained in this collection have been carefully arranged for any combination of string duet. The selections appear in chronological order. They span nearly 200 years with 22 composers and feature works from the Baroque, Classical and Romantic periods of music. The arrangements are drawn from a variety of sources, including piano and chamber works. However, the majority of works were taken from actual duets originally written for two instruments by the composers themselves. Each work was selected for its quality, musical interest, and appropriateness. Arranged specifically for a chamber setting, the duets may be performed at recitals, adjudications, weddings, and social events. The various moods created through these works will compliment any occasion.
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: GH.GE-11358
ISBN 979-0-070-11358-8. A4 inches.
Work comment by the composer: The lonely one was composed during May and June of the year 2000. It was written for Annika Gustafsson, to whom it is also dedicated. It was world-premiered on December 1 the same year in Caroli Church in Malmo. After that I had composed The Threat of War that was a dramatic and massive work for orchestra, I wanted to focus on melodic as well as harmonic and rhyhtmical processes combined with a inner dramatic content. In this case the solo violin works as a narrator where the piece itself is like a monologue without words. In the score there are imprinted expressions like racontare (tellingly), piacevole (pleasingly) och sospirare(sighing). The lonely one is divided in three sections. 1. Doloroso (Painful) - the violin plays almost imperceptly sighing glissandi that forms the basic material of the work. Its character is constantly searching. It leads up to the section Risoluto (Resolute) that has a very determined and edgy expression. 2. Misterioso (Mysteriously) - the materials from the previous section are now further developed. It builds up and breaks down during the course of the journey. Eventually it reaches a climax on a high d. 3. Calmando e espressivo (Calmingly and expressive) - From the high d it is stepping down to a recapture on material from the first part slightly changed and moody character. It dies out slowly with the lonely notes. Benjamin Staern
SKU: ST.C545
ISBN 9790570815456.
Combines and replaces the two original publications of Sounds of a Rainbow Book 1 from Spartan Press (SP950-1), into this volume that includes both duets and violin and piano versions in one volume.Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrade 1Former Spartan Press Cat. No.: SP950 and SP951.
SKU: AP.1-ADV6203
UPC: 805095062038. English.
Portraying the passionate, complex relationship that often develops between two people dancing the tango, this intriguing set conveys a variety of moods---impulsive, mysterious, boastful, impatient, animated, longing, frivolous, etc. As the title implies, the first 12 of these musical sketches are about one minute in duration; the closing Cancion is a bit longer.
SKU: ST.C546
ISBN 9790570815463.
Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrade 2Former Spartan Press Cat. No.: SP952 and SP953.
SKU: ST.C547
ISBN 9790570815470.
Whether a student or a great artist, the desire to make a beautiful sound is a constant in the life of any musician. Sound is the musician’s voice, the means of communicating an artistic vision to the audience and it should be the aim for children of any age or standard to be engaged in good tone production.The inspiration for writing the pieces for this book came to me from the wish to give the young children I teach music which would develop their ear for both good intonation and beautiful tone production. All the pieces have a strongly implied harmonic structure allowing them to be played without accompaniment. The purpose of the second violin part is therefore to enable the teacher to underline the harmony as well as to influence the student’s tone production and intonation through his own sound, as much can be taught by good example. The violin student also has the option to play with piano. The accompaniments included within this book are written by Heidi Rolfe.The choice of keys in this book covers most of the requirements for scales in the Associated Board syllabus Grade 1.Finally I think that children enjoy the challenge of expressing different moods and emotions musically, and I hope that the range of ideas implied by the keys and the titles of these pieces will fire their imagination.Nigel GoldbergGrades 3–4Former Spartan Press Cat. No.: SP954 and SP955.
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