Chamber Music violin, piano

SKU: PR.144407050

Composed by James Primosch. Set of Score and Parts. With Standard notation. 28+12 pages. Duration 20 minutes. Theodore Presser Company #144-40705. Published by Theodore Presser Company (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 “symphonic”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“Descent”, 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.

(for Violin and Orchestra Violin/Piano Reduction). BH Chamber Music. Softcover. 64 pages. Boosey & Hawkes #M051105519. Published by Boosey & Hawkes

Violin and Piano Reduction. Composed by James Hollis Matheson. Premiere: Baird Dodge, soloist, Chicago Symphony Orchestra, Esa-Pekka Salonen, conductor; Martin Chalifour, soloist, Los Angeles Philharmonic, Pablo Heras-Casado, conductor. Contemporary. Solo part with piano reduction. With Standard notation. Composed 2012. 72 pages. Duration 25 minutes. Theodore Presser Company #114-41585. Published by Theodore Presser Company (PR.114415850).

By Various. Edited by John Bowden. For Violin and Piano. Educational. Instrumental Collection. Classical. Level: Easy. Book and Solo Part. 28+12 pages. Duration 25 minutes. Published by Digital Music Print (Belgian import).

For violin and piano. Composed by Wilhelm Stenhammar. Piano reduction/solo part. Op. 19. Duration 25 minutes. Published by Gehrmans Musikforlag (GH.GE-12144).

(Movements I and II Arranged for Violin and Piano). By Igor Fyodorovich Stravinsky. Arranged by David Dutkanicz. For violin piano. 8 2 pages. Duration 7 minutes. Published by Carl Fischer

Chamber Music violin, piano

SKU: PR.144403660

Composed by Francis Thorne. Set of Score and Parts. With Standard notation. Composed 1960. 19+7 pages. Duration 15 minutes. Theodore Presser Company #144-40366. Published by Theodore Presser Company (PR.144403660).

UPC: 680160029495.

Violin and Piano

SKU: HL.14021349

Composed by Kenneth Leighton. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV120333. Published by Music Sales (HL.14021349).

ISBN 9780853609414.

This work was commissioned by Barnes Music Club and first performed by Frances Mason and Ashley Lawrence on 25 October 1966. Duration: c. 19 minutes.

Violin, piano - Level 6

SKU: KU.GM-1924

Composed by David Philip Hefti. Edited by David Philip Hefti. Bach format (230 x 302). Staple Bound. Piano score, part. 25 pages. Duration 14 minutes. Edition Kunzelmann #GM-1924. Published by Edition Kunzelmann (KU.GM-1924).

ISBN 9790206204128. 9 x 12 inches.

Chamber Music violin, piano

SKU: PR.114419280

Composed by Chen Yi. Arranged by Wong Tak Chiu. Performance Score. 32+12 pages. Duration 20 minutes. Theodore Presser Company #114-41928. Published by Theodore Presser Company (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.”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.