SKU: HL.48025296
UPC: 196288174325.
“Being Russian born I have a strong connection to the ballet scores of Tchaikovsky, Prokofiev and Stravinsky, and as a result in theWild Swans, more than in any other work of mine, I allowed myself the freedom to roam through 200 years of musical genres, ranging from Hungarian Operetta through folk music and even including the influences of jazz and popular music,†says Elena Kats-Chernin. The full-length work, which premiered in Sydney in 2003, was written for choreographer Meryl Tankard after the two artists had already worked together for the opening ceremony of the 2000 Olympic Games, and became one of the composer's greatest successes. Many excerpts in various arrangements have a concert life of their own today - including the world-renowned Eliza Aria. Arranged by the composer in 2004 for violin and piano after the original orchestral version, the half-hour suite comprises ten characteristic movements: Green Leaf Prelude, Eliza Aria, Brothers, Wicked Witch (piano solo), Magic Spell Tango, Glow Worms, Darkness of the Forest, Eliza and the Prince, Mute Princess, Transformation.
SKU: HL.14023212
ISBN 9788759812334. English.
SKU: HL.48182141
Raymond Gallois-Montbrun: Sonate, 1e Mouvement (Violin & Piano).
SKU: HL.48181993
UPC: 888680846640. 9.0x12.0x0.072 inches.
Marcel Bitsch: Sonate, Premier Mouvement (Violin & Piano).
SKU: BR.EB-9386
ISBN 9790004188569. 0 x 0 inches.
The Violin Sonata No. 1 in E minor, op. 73, a Grand Sonata for Violin and Piano, occupies an important position in Joachim Raff's oeuvre: it reflects numerous artistic, aesthetic, biographical, and reception-historical aspects characteristic of Raff. The work was composed in Weimar in 1854, when Raff was going through a process of artistic self-discovery. He increasingly distanced himself from his mentor Franz Liszt and intensively explored Wagner as well as the ideal of absolute music - this is also reflected in the music of the sonata. While Raff described the first two movements as objectified, he perceived the last two movements as a piece of him, that is, not free of extra-musical influences.The 1st movement, with its expansive main theme, is reminiscent of Mendelssohn; the 2nd movement reveals the refinement of classical-romantic work with musical material. The 3rd movement, with its partly rhythmic, virtuoso accompanying figures and harmonically advanced passages, allows a deeply romantic, almost tormented insight into a soul life a la Sturm und Drang. The partly irascible last movement revisits already familiar themes and thus creates a musical framework.In collaboration with the Joachim-Raff-Archiv Lachen (CH)First Urtext Edition of the Grand Sonata for Violin and Piano.
SKU: BO.B.3632
Duo-Sonata for violin and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring violin cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.Meanwhile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the violin follows, in octaves, with heartfelt glissando.The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the violin. The main theme is repeated once again, this time with a binary time signature. The violin uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.
SKU: HL.48025035
ISBN 9783793142607. UPC: 196288020790. 9.0x12.0x0.171 inches.
With Berlin Music, Brett Dean wrote a threefold homage: to the classical duo consisting of violin and piano; to the violin virtuoso Midori, for whom the piece was written; and to the city of Berlin, where he lived between the mid-1980s and 2000 and whose rich cultural life he owes much to his development as a musician and composer. The first four, relatively short movements of the five-movement work form a suite of character pieces, which is followed by a longer final movement. In summary, this turns out to be the actual main movement from which all motifs and harmonies emerged in a compositional manner. This includes tuning down the G side by a whole tone - an apparently small difference, but one that has a major effect on the timbre and resonance of the instrumentand suddenly makes previously impossible interval sequences playable. In addition, the violin in the third movement (a moto perpetuo in which Dean bows to Ravel's violin sonata) has to play with a practice damper, while the pianist changes the instrument and plays on a standing piano that is dampened by a pedal and placed next to the concert grand Expressing nervous energy in tight college spaces.
SKU: AP.1-ADV6001
UPC: 805095060010. English.
Each of the four movements in Tango Suite No. 1 has its own profile and poses different challenges to the musicians. The first movement is rubato; the second one is bound to a fixed meter and set up as a multifaceted tale. The third movement can be improvised over an accompanying ostinato; an optional written part is provided. The fourth movement completes the suite with an overview of what has been played in the other movements. Arranged for violin and piano by Hauke Piper.
SKU: HL.49019230
ISBN 9790001181792. UPC: 884088907365. 9.0x12.0x0.106 inches.
These two movements were originally intended for Kleine Suite for violin and piano (ED 7564), but were exchanged for the 'official' second movement published in the suite. Over the course of the reviewing of Zimmermann's early work, many surprising things have come to light again. These two alternative movements are not difficult to play, can be used for many different purposes and expand the repertoire by two unknown pieces by Zimmermann.
SKU: PR.114419280
ISBN 9781491132357. UPC: 680160676125.
Inspired by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,†and the Chaozhou tune “Lion Playing Ball.â€II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.
SKU: AP.12-0571541887
ISBN 9780571541881. English.
Thomas Adès's Violin Concerto Concentric Paths, written in 2005, is one of the most important additions to the violin concerto repertoire since Ligeti's. Cast in three contrasting movements?each linked by a preoccupation with circling musical figures? the concerto, subtitled Concentric Paths now occupies a place in standard repertoire. Two lithe, rhythmically driven movements, Rings and Rounds bookend Paths, an intensely emotional and gritty exploration of passacaglia-like sequences, which peaks in a lyrical outpouring of exceptional beauty. This is the violin part and piano reduction. In just 20 minutes, this three-movement piece does something magical. The way it swirls ethereally in the first movement, exerts a tragic and vice-like grip in the chaconne-like second part and finally propels you into the uninhibited flight of the finale is like being spun into an infinite space. The Guardian (Tom Service).
SKU: OU.9780193554832
ISBN 9780193554832. 12 x 8 inches.
The work is in three movements - the first is fast and aggressive and is based on a sequence that repeats throughout the rest of the piece. The second movement is, by contrast, slow and would seem to have been bruised by the first. The final movement renews the aggressive vehemence of the opening and grimly combines it with material from the slow movement. The work has, therefore, an A B A pattern.
SKU: BO.B.3414
English comments: Concertino for violin and string orchestra was composed in 1993. It is a pleasant score with a slightly virtuosic touch written with the idea of creating a relaxed atmosphere in which the soloist and the orchestra can display their technique and expressive capabilities. It is a work, similar in lenght to baroque concertos, and is divided into three movements, folowing the conventional form.: two fast movements around a slow one. Te first two movements -Allegro burlesco and Adagio cantabile- follow the ABA pattern. The third starts with a -cadenza- by the soloist which includes thematic material from the previous slow movement linking straight up to the -Presto- which uses as its main idea a more forceful version of the opening melodic sketch of the -Allegro burlesco- converted into three time. The work was specially creatied for the violinist Gerard Claret and the Orquestra de Cambra Nacional d'Andorra. Recordings: Hermitage Orchestra-Camerata St. Petersburg, violin: Sergey Malov, conductor: Alexis Soriano. Ensayo (ENY-2003). Jordi CervelloComentarios del Espanol:Concertino para violin y orquesta de cuerda es una obra compuesta en 1993. Se trata de una partitura amable y de cierto toque virtuosistico cuya principal preocupacion ha sido crear una atmosfera distendida en la que el solista y la orquesta puedan desplegar con espontaneidad sus capacidades tecnicas y expresivas. Es una obra de duracion similar a la de los conciertos del barroco y dividida en sus tres tipicos movimientos. Dos rapidos enmarcando uno lento. Los dos primeros -Allegro burlesco y Adagio cantabile- se desarrollan bajo el esquema ABA. El tercero inicia con una -cadenza- del solista que recoge material tematico del movimiento lento precedente para enlazar sin interrupcion con el -Presto- que utiliza como idea principal el dibujo melodico que abre el -Allegro burlesco-, pero mas decidido y a compas ternario. La obra fue compuesta expresamente para el violinista Gerard Claret y la Orquestra Nacional de Cambra d'Andorra. Grabaciones: Hermitage Orchestra-Camerata St. Petersburg, violin solista: Sergey Malov, direccion: Alexis Soriano. Ensayo (ENY-2003) Jordi Cervello.
SKU: CF.MXE112
ISBN 9781491156766. UPC: 680160915309. 9 x 12 inches.
Angles for Piano Trio plays with a variety of textures and timbres that can be produced on the piano. Each of the four movements takes a different textural or procedural angle. The first movement, With Pluck, uses a lot of pizzicato in the strings, with virtually no use of the pedal in the piano. The second movement, Take a Bow, uses extensive double stops in the strings. The third movement, About a Minute Waltz, is percussive and rhythmic, and the last movement, A Sad Song, contrasts repetitions of a straightforward lyrical stanza with rhapsodic interludes.
SKU: FG.55011-546-0
ISBN 9790550115460.
Uuno Klami probably began composing the Sonata in C Minor for Violin and Piano as early as May 1920. He completed two movements but only sketched the finale. The reason why he never finished it may be that he began composing a Viola Sonata at around the same time. In 2016, composer Eero Kesti was editing Klami's Viola Sonata when ne noticed that the main section, Allegro affetta, in its finale is fully based on the sketches for the finale of the Violin Sonata. He concluded that the finales of the two works were presumably meant to be very similar, even though they were in different keys. He therefore constructed the last movement of the Violin Sonata, basing it entirely on the last movement of the Viola Sonata. This, we believe, is what Klami originally intended.
SKU: PR.144407050
UPC: 680160655519. 9 x 12 inches.
Celebrating 30 years, the Philadelphia Chamber Music Society commissioned a work of 20-25 minutes for violin and piano from James Primosch, University of Pennsylvania professor of music. Primosch had originally thought to create a new sonata, but what developed is more appropriately a set of five character pieces, two of which were directly inspired by poems. Five Poems was premiered in May, 2016, and Primosch's thoughts are recorded at his website: https://jamesprimosch.com/2016/05/10/five-poems-premiere/.Upon receiving a commission from the Philadelphia Chamber MusicSociety for a violin and piano piece in honor of its 30th anniversary, myplan was to write a sonata, a term suggesting a relatively abstractdiscourse. But as the piece developed, the movements struck me ascharacter pieces rather than music employing a more “symphonicâ€approach. When specific poems started to attach themselves in my mindwith two of the movements, the overall title Five Poems became clear.The title of the second movement is a line from Susan Stewart’s“Descentâ€, which deals with Aeneas’s visit to the underworld. The musicis alternately fiercely driving and quite still, though tense. RobertFrost’s Nothing Gold Can Stay summons fleet scale passages framinglyrical counterpoint. The remaining movements do not refer to specificpoems, but have titles reflecting their expressive tone. Dreamscape ismusing with an improvisatory violin line over shifting pairs of pianochords. Nightsong is a bluesy lullaby that turns highly dramatic.Vision begins with a closely argued struggle but breaks through tosomething spacious and clear.
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-edition.com.
SKU: FG.55011-824-9
ISBN 9790550118249.
Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, “Arrival: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the second movement, entitled Aura, “Air or Wind, does the initiative pass to the solo violin as it sets light to notes in the orchestra harmony like individual lamps. And not until the end of the second movement and the beginning of the third does the solo violin play completely on its own. The title of the first movement, “Arrival, underlines the event, the dramaturgy, whereas that of the second movement, “Aura, alludes to the texture and the shimmering space. The third movement is the most strongly emotional, as the name Carezza, “Caress suggests.This product includes the solo part and the piano reduction (B4 sized).The orchestral material is available from the publisher. The orchestration: 3(III+picc)3(III+ca)3(III=bcl)3(III=cfg)-4331-13-hp-str.
SKU: HL.49017953
ISBN 9790001157506. UPC: 841886013186. 9.25x12.0x0.276 inches.
Johanna Senfter (1879-1961) was a pupil of Max Reger.Beginning with an expressive violin theme in a densely packed, 'Brahms-like' piano setting, the classical four-movement work centres around two capricious and playful movements: Lustig, nicht zu schnell is how the second movement begins, a fugal gem working with all kinds of contrapuntal tricks. This is followed by a scherzo-like, wittily flirting Rasch. The finale begins with a melodically simple tune in an almost folksong-like tone which, by a sequence of character variations, builds to a grand gesture which eventually leads back to the initial cantabile - with the sonata coming to a quiet end. A valuable addition to the chamber music repertoire.
SKU: FG.55011-615-3
ISBN 9790550116153.
Kalevi Aho (b. 1949) composed Violin concerto No. 2 in late summer and early autumn 2015 for the Finnish violinist Elina Vahala. Lasting about 32 minutes, the second concerto is a large-scale virtuoso work dominated by the soloist. The strong-featured first movement (Allegro) begins with a fairly short orchestral introduction that is followed by the soloist's first vigorous statement. Around the middle of the movement is a cadenza, and the movement ends with a quick stretta. The soloist dominates the events in the slow second movement (Adagio) even more than it did in the first. The Adagio begins with the same opening motif for the soloist as the first movement, but this time the motif is more lyrical and singing. Having built up to a dramatic climax, it subsides on flageolet notes and finally sounds that are somewhere between musical notes and noise. The third movement (Vivace, leggiero) is by nature dance-like again and lighter than the previous ones. At the end, the tempo accelerates to a wild, virtuosic prestissimo. Piano reduction (2020) by Kari Vehmanen.
SKU: HL.50510754
ISBN 9790080026540. UPC: 073999783636. 8.0x11.25x0.118 inches. Hungarian, English, German.
Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnanyi's mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pecs (South Hungary). Ruralia Hungarica was one of Dohnanyi's favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).
SKU: PR.11440561S
UPC: 680160009039.
The three movements examine the same materials from different points of view; in the first, the ideas are chronologically separated, but they alternate and develop through the instruments in an intensifying way that generates a rather imposing and grandiose rhetoric. The second, with its hypnoti, incessant reiterations at maximum volume of a simultaneous combination of motives of different l lengths and shapes, ends just short of becoming unbearable... In the last movement the flute, clarinet and violin slowly unfold a continuous texture that combines several of the earlier elements, while the piano softly interjects the echo of its first movement triplets.
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
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