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: 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: PR.114419320
UPC: 680160676071. 9 x 12 inches.
Commissioned by the Philadelphia Chamber Music Society for its Thirtieth Anniversary for the Clarosa Quartet. The first movement begins with detached fragments and soon turns into something cohesive and dramatic. The second movement pastorale is a beautiful interlude with glistening piano effects. The fourth movement closes the quartet with a long whirlwind at the end. Overall, Krzywicki left me with the same feeling I get from Beethoven's late quartets -- the sense that you're in direct contact with the composer's state of mind. Krzywicki's feelings aren't as conflicted as Beethoven's but they're just as real. -- Tom Purdom (BroadStreetReview.com).
SKU: PR.11441932S
UPC: 680160676088. 9 x 12 inches.
The first movement begins with detached fragments and soon turns into something cohesive and dramatic. The second movement pastorale is a beautiful interlude with glistening piano effects. The fourth movement closes the quartet with a long whirlwind at the end. Overall, Krzywicki left me with the same feeling I get from Beethoven's late quartets -- the sense that you're in direct contact with the composer's state of mind. Krzywicki's feelings aren't as conflicted as Beethoven's but they're just as real. -- Tom Purdom (BroadStreetReview.com).
SKU: BT.PWM7985010
In her four-movement Sonata Bacewicz obviously refers to the Baroque music , the virtuoso trend of the music for strings of that epoch, as proven by the kind of narrative as well as Bach-like ostinatos and figurations, textural devices such as lyrical double stops or bourdons with open strings, a based-on-fifths-plan of repetitions in the second movement and the like. (...) All this makes the Sonata an original commentary on a composition on which it feeds and to which it owes a great deal (i.e. a cycle of the Partitas and Sonatas for solo violin by J. S. Bach), depriving the music of Arcadian illusions while preserving its musicianly dash instead, an indisputable violin quality of sound and energy, which is exclusively the energy of the material, without any extramusical references. [M. G siorowska, op. cit.].
SKU: HL.359057
ISBN 9781705120941. UPC: 840126945119. 11.0x13.0x0.404 inches.
Composed during the summer of 1964 at the Aspen Music Festival, performed by students under the direction of Leonard Slatkin. The composer writes: “The first movement has much the feel of a Mozart string divertimento. The 'distant relative' of the second movement was Richard Wagner, and there are hidden quotations of his work throughout. The short scherzo movement, which leads to a solo lament, eventually lands upon a light-hearted rondo, unashamedly in G major, a compositional ploy that drew criticism in its time.â€.
SKU: SU.27120130
A concert trio in four movements titled Urban Reflections; Pastoral Settings, with Thunder; Travelling Spheres; and Home Stretch. Violin, Cello, & Piano Duration: 23' Composed: 2012 Published by: Lapis Island Press.
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: PR.416411770
UPC: 680160091508.
I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.
SKU: FG.55011-770-9
ISBN 9790550117709.
The material for Jyrki Linjama's Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba (2018) and Sonata for violin solo (2019). The composer tells: The choice of topic and material was originally influenced by the place where the string trio would be premiered – the old church on the island of Seili (Själö) in the Turku archipelago. The bleak history of the mental hospital on the island invited images of suffering and death. I got so attached to the fine, bleak melody that this series of works began to emerge. Lasting 17 minutes, the sonata for solo violin has three movements, all of them embracing the folk choral material and Béla Bartók’s influence in different ways. It was premiered by Kaija Saarikettu at the Kaustinen Chamber Music Festival in 2020.
SKU: HL.14035706
ISBN 9780711930070. 9.25x12.0x0.37 inches.
This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words I broke off a golden branch come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Duration: c.15 minutes.
SKU: HL.49046366
ISBN 9781540083869. UPC: 840126906264. 9.0x12.0x0.139 inches.
Lei Liang's Deja vu is a one-movement hypnotic dialogue between the violin and percussion. The instrumental writing is intricate yet, at times, explosive. The work contains numerous passages of improvisation with the score providing guidance to the performers.
SKU: HL.269151
Eivind Buene's Violin Concerto - Version for Sinfonietta (2016). Falling Angels / Sound Asleep / Among Voices of the Dead The Violin Concerto is in three movements with varying instrumentation within the range of a sinfonietta. The movements may be played as individual pieces. Parts are available on hire: hire@ewh.dk Orig. version for Violin and Chamber Orchestra: WH32919.
SKU: HL.48023693
ISBN 9783793140597. 9.0x12.0x0.205 inches.
In three movements.
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