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.
SKU: HL.49003314
ISBN 9790220119880. UPC: 884088053444. 9.0x12.0x0.177 inches.
This volume presents a mixed and varied collection of jazzy violin arrangements with piano accompaniments. Contents: Down by the Riverside * Bill Bailey, Won't You Please Come Home * East Virginia Blues * Jeanie with the Light Brown Hair * La Paloma * The American Patrol * Frankie and Johnny * O Sole Mio. Includes score and pull-out violin part.
SKU: HL.51481271
ISBN 9781705196021. UPC: 196288143000. 12.75x10.0x0.22 inches.
Inspired by Béla Bartók's violin sonatas, Ravel planned his own sonata for violin and piano in 1922, but at first did not get beyond sketches. Many interruptions ensued and the work was only finished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata's sparse, thinned out compositional structure and instrumentation, Ravel later emphasized that the sonata proved the tonal incompatibility of the violin and piano. Yet it still succeeded in winning a permanent place in violin repertoire â not least because of its middle movement inspired by jazz elements and the blues. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé.
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SKU: HL.49009272
ISBN 9790001115186. UPC: 840126938975. 9.0x12.0x0.042 inches.
Istvan Szelenyi (1904-1972), a student of Kodaly, taught composition at the Budapest conservatory. Apart from chamber music and piano pieces he composed mainly educational material, e.g.for youth orchestra and violin ensemble. Improvisation, composed 1946, is equally suited for violin, flute or oboe. Simple piano chords provide the background for a rhapsodic, improvisatory solo part with an eastern European folkloristic flavour.
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