For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(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.
(10 Gems for Violin and Piano). Arranged by Edward Huws Jones. For Violin and Pi...(+)
(10 Gems for Violin and
Piano). Arranged by
Edward Huws Jones. For
Violin and Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
Chamber Music Violin SKU: PR.114424050 Composed by Adolphus Hailstork. Sw...(+)
Chamber Music Violin
SKU: PR.114424050
Composed by Adolphus
Hailstork. Sws. Theodore
Presser Company
#114-42405. Published by
Theodore Presser Company
(PR.114424050).
ISBN
9781491137369. UPC:
680160690084.
Hints
of Bach’s solo violin
music occasionally infuse
Hailstork’s modernist
side, creating a
fascinating drama in this
three-movement suite for
solo violin. While
overall in a
fast-slow-fast form, each
movement is a world in
itself with engaging
contrasts, pacing, and
textures within the solo
instrument.
Violin SKU: AP.6-443566 Composed by Edward Heron Allen. Reference Textboo...(+)
Violin
SKU:
AP.6-443566
Composed
by Edward Heron Allen.
Reference Textbooks;
Textbook - Instrumental.
Dover Edition. Book.
Dover Publications
#06-443566. Published by
Dover Publications
(AP.6-443566).
ISBN
9780486443560.
English.
This
classic guide offers an
accessible initiation
into the mysteries of
violin-making. Charming
in its style and
cultivated in its
research, it covers every
detail of the process,
from wood selection to
varnish. A fascinating
history of the instrument
precedes discussions of
materials and
construction techniques.
More than 200 diagrams,
engravings, and
photographs complement
the text.
In forme of Etudes, in all 24 keys. Composed by Jacques Pierre Joseph Rode. ...(+)
In forme of Etudes, in
all 24
keys. Composed by Jacques
Pierre Joseph Rode.
Edited by
Ulrich Groener. Arranged
by
Ida Bieler. This edition:
Saddle stitching. Sheet
music. String. 84 pages.
Schott Music #ED20584.
Published by Schott Music
The Untold Story of Ervin T. Rouse, Chubby Wise, Johnny Cash and the Orange Blos...(+)
The Untold Story of Ervin
T. Rouse, Chubby Wise,
Johnny Cash and the
Orange Blossom Special.
By Randy Noles. Fiddle.
Softcover. 226 pages.
Published by Centerstream
Publications.
Easy Violin Pieces. (World's Favorite Series #91). By Various. For Violin. World...(+)
Easy Violin Pieces.
(World's Favorite Series
#91). By Various. For
Violin. World's Favorite
(Ashley). Classical.
Softcover. 128 pages.
Ashley Mark Publishing
Company #AS10091.
Published by Ashley Mark
Publishing Company
History, Tips, and Techniques. Composed by Brad Leftwich. Squareback sadd...(+)
History, Tips, and
Techniques. Composed
by Brad Leftwich.
Squareback saddle stitch.
Book and online audio.
Published by Mel Bay
Publications, Inc
(MB.20485M).
Repertoire. CD. Trinity
College London #TCL
014924. Published by
Trinity College London
(TL.TCL014924).
ISBN
9780857364654.
This
audio CD contains exam
pieces on the Trinity
College London Violin
syllabus for 2016-2019,
featuring renowned
violinist Liz Partridge.
(alternative pieces are
not included). In
addition to full
recordings of each piece,
the CD also includes
'minus one' style backing
tracks, allowing students
to practise with the
piano accompaniment
played by Stephen
Wilder. These
recordings are not
definitive but may be
employed as an aid to
preparation for Trinity
College London
examinations.
Violin - intermediate SKU: BT.DHP-1114985-400 16 tangos for violin...(+)
Violin - intermediate
SKU:
BT.DHP-1114985-400
16 tangos for
violin. Composed by
Myriam Mees. Arranged by
Nico Dezaire. Book with
CD. Composed 2010. 56
pages. De Haske
Publications #DHP
1114985-400. Published by
De Haske Publications
(BT.DHP-1114985-400).
ISBN 9789043135023.
9x12 inches.
English-German-French-Dut
ch.
The tango -
vigorous and comforting
dance music full of
emotion, passion and
love! Tango
Delight is the
follow-up to Tango
Time! The pieces are
a bit more challenging
and expansive. They are
intended for violonists
of an intermediate level
who wish to enjoy the
real tango. The enclosed
demo and play-along CD is
a source of inspiration.
De tango -
krachtige en troostrijke
dansmuziek boordevol
emotie, passie en liefde!
Tango Delight is de
opvolger van Tango Time!
De stukken zijn iets
uitdagender en verder
uitgewerkt. Ze zijn
bedoeld voor violisten
van een gemiddeldniveau
die willen genieten van
de echte tango. De
bijgevoegde demo- en
play-along-cd is een bron
van inspiratie. Voor
samenspel met een pianist
zijn op deze cd ook
printklare pdf-bestanden
van de begeleiding
toegevoegd.
Der
Tango - lebhafte und
tröstliche Tanzmusik
voll Gefühl,
Leidenschaft und Liebe!
Tango Delight ist
die Fortsetzung von
Tango Time! Die
Stücke sind ein wenig
anspruchsvoller und
ausgedehnter. Sie richten
sich an Geiger im
mittleren Spielniveau,
die gerne den echten
Tango erleben möchten.
Die beiliegende Demo- und
Mitspiel-CD ist eine
Quelle der Inspiration!
Für das Zusammenspiel
mit einem Pianisten sind
auf der CD PDF-Dateien
der Begleitung in
Notenform
enthalten.
Il
seguito di Tango Time!
con brani più esigenti
per violinisti di livello
medio. Il CD, che propone
sia una traccia demo che
una play-along, è una
vera fonte di
ispirazione! Se si
desidera suonare assieme
ad un pianista basta
scaricare dal CD lo
spartito in formato
PDF.
Violin SKU: HL.50601306 Violin. Composed by Lera Auerbach. String....(+)
Violin
SKU:
HL.50601306
Violin. Composed
by Lera Auerbach. String.
Classical. Softcover. 20
pages. Sikorski #SIK8860.
Published by Sikorski
(HL.50601306).
8.25x11.5x0.085
inches.
Lera
Auerbach's
“par.ti.taâ€
is a commissioned work by
the Bachwoche Ansbach and
received its world
premiere on 29 July 2007
at the Bachwoche,
performed by Vadim
Gluzman. Gluzman has
remarked:
“'par.ti.taâ€
is an incredible work,
projecting Lera's
lifelong fascination with
Bach ... We hear traces
and echoes of Brandenburg
Concerti, Concerto for
two violins, Sonatas and
Partitas for violin solo.
No particular work is
being quoted, yet I can't
help the feeling of being
drawn to an incredible
world of shades, echoes -
are these shades of
ourselves? (...).
Fun, facts and puzzles for violin players everywhere. By Katie Elliott. (Violin...(+)
Fun, facts and puzzles
for violin players
everywhere. By Katie
Elliott. (Violin).
Boosey and Hawkes Chamber
Music. Size 7.25x10.25
inches. 32 pages.
Published by Boosey and
Hawkes.