SKU: DY.DO-1525
ISBN 9782897963057.
J'aime les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.Une note sur les performances :Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjRhttps://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953Envoyer des commentairesTransfigured Life - Still Life, Op. 165 (violin and piano) - David BraidI am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved and developed. In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.A note on performance: Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjRhttps://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953.
SKU: HL.49045998
ISBN 9781540034960. UPC: 888680790998. 9.0x12.0x0.142 inches.
In The Diamond Sutra, an early Buddhist text also known as The Diamond that Cuts Through Illusion, the Buddha leads his interlocutor, the Elder Subhuti, through a series of questions and provocations. The Buddha then concludes the session by offering this teaching to those assembled:All composed things are like a dream,a phantom, a drop of dew, a flash of lightning.That is how to meditate on them;that is how to observe them.This duo piece is in four sections, corresponding roughly to these four disparate visions of impermanence: four distinct moments of interplay between form and emptiness, four corners of a diamond. This series of images is itself a 'composed thing,' gathering dissimilar elements into a unified system. It suggests that the things we make are similar to things that exist beyond intention. The Buddha's utterance helps us hear so-called 'composition' and 'improvisation' - or the encompassing category, 'music' - as part of an even larger aggregate: that which forms and recedes.- Vijay Iyer.
SKU: EC.LMP044
ISBN 9781962585026.
This work was especially arranged for Thomas Stumpf and Joanna Kurkowicz and was adapted from the second movement of my Violin Concerto No. 1. The inspiration comes from the melodic shapes and sentiments of the hymns and chants of the Syrian Orthodox Church. Though there is no direct referenceto any particular hymn or chant in that repertoire, it is the formal structure and melodic contour from that tradition that provided inspiration for Hymn; especially in the opening and closing sections. The inner feelings of Hymn reflect on one aspect of the nature of faith, and how one holds on to it in a tumultuous world. This is reflected in the middle section where the piano's jagged rhythms attempt to throw off the steady pulses of the violin. Only faith in one's own inner rhythm can keep the violinist moving steadily forward. -Kareem Roustom.
SKU: HL.49012319
ISBN 9790001102803. UPC: 884088061968. 9.0x12.0x0.189 inches.
It is elegance and brilliance that characterise this work by the violin master whose French form type takes up the essential music tendencies of that time coming from Mannheim, Paris and Italy.
SKU: HL.49019174
ISBN 9790001180580. UPC: 884088862596. 9.25x12.0x0.094 inches.
Cyril Scott (1879 - 1970) composed Deux Preludes in 1912. Includes: I. Poeme erotique and II. Danse. In the first of two Preludes, Poeme Erotique, the continually changing time signatures are the defining factor, displacing the bar accents between a rocking three and a rhapsodic five-quaver meter. The Danse that follows relies even more on the rhythmic acuity of its interpreters through an unfolding sucession of unusual meter changes. These two pieces will appeal to an advanced player wishing to enrich his repertoire with superb effective performance pieces. Schott's exemplary printing on buff-colored paper with slightly-larger-than-usual notation should serve to bring the unjustly neglected Scott back into the violin-repertoire fold.--Strings magazine.
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: PR.144405810
ISBN 9781491101407. UPC: 680160614127.
In this ballad, Reise ponders the Red Sea Swallow, of which only one was ever found (and dead, at that). The Flight of the Red Sea Swallow imagines the final flight of what may have been the last of its kind. Originally written for violin and piano, and premiered by Maria Bachmann, Flight has also been transcribed for flute and piano. For advanced performers. Duration: 17'.
SKU: HL.49019054
ISBN 9790001147828.
On 11 August 2011 it is fifty years since the death of the composer Johanna Senfter from Oppenheim who actually was a trained violinist for she had studied with renowned violinists at the Hoch Conservatory in Frankfurt. No wonder that she dealt with the solo violin repertoire her whole life long. Concert works with orchestral accompaniment as well as chamber music works were the results of her compositional endeavours, and she attended to both the large and the small form. Apart from sonatas deeply rooted in the Romantic tradition, Johanna Senfter also wrote '5 Stucke' Op. 100 for violin with piano accompaniment. They are five miniatures which combine to form a kind of sonatina, while nevertheless being quite equal to its big sister, the sonata, as regards playing and compositional technique. A musically demanding, yet rewarding work by the Reger pupil.
SKU: HL.48185463
UPC: 888680834968. 9.0x12.0x0.147 inches.
Famous pieces by G. F. Handel for Eb Alto Saxophone and Piano ? Vol. 2 is an anthology of four pieces arranged for Alto Saxophone and Piano by Marcel Mule. This second book features four sonatas, all composed initially by G. F. Handel and part of the collection ?Saxophone Classics? by Mule. - First sonata: Flute and Piano - Second sonata: Violin and Piano - Fourth sonata: Flute and Piano - Sixth sonata: Violin and Piano Each sonata should be played separately and their level of difficulty is quite challenging, which would match the abilities of upper intermediate / advanced players who have mastered their breathing. Marcel Mule (1901-2001) is one of the greatest French saxophonists, renowned worldwide for his work on the classical Saxophone repertoire. He was teaching his students how to obtain a good quality of sound and believed it was dependent on the embouchure, the emission, the mastery of vibrato and thus of breathing. He wrote different methods that focus on technique, articulation and tone productions such as 'Dix-huit Exercices ou Etudes', 'Exercices Journaliers d?apres Terschack' or '30 Grands Exercices ou Etudes d?apres Soussmann' (in two books), among others..
SKU: PR.114417660
ISBN 9781491107966. UPC: 680160636211. 9x12 inches.
A microcosmic masterpiece in its own right and defined by the composer as an encore piece, Bitten at the Opera is all that and more. Carter Pann may leave us guessing about some of the references in his music and title - yet we do feel the bite, the melodramatic thrill, the references to Carmen, and the drama of the great Italian tragic operas. Parody aside, Bitten at the Opera is a brilliant 4 1/2 minute showpiece full of lyricism and fire, ideal for punctuating a recital. For advanced performers.
SKU: HL.49045439
ISBN 9790001160865. UPC: 841886029408.
The short two-part composition refers to two persons by the name of Teresa. One of them was a beautiful Polish actress, the other the favourite model of the painter Balthus. I tried to fuse the characteristics of both female persons with each other in the merging parts. The three-line D produced by rubbing a wine glass sounds like a faraway, almost inaudible planet tone that ends with a brief sigh. Wilfried Hiller.
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