Violin SKU: BT.VOLMB763 Parte 2 Esercizi Per La Preparazione e Lo Svil...(+)
Violin
SKU:
BT.VOLMB763
Parte
2 Esercizi Per La
Preparazione e Lo
Sviluppo Del Trillo.
Composed by Oktar Sevcik.
Studies & Exercises. Book
Only. Composed 2020.
Volonte e Co #VOLMB763.
Published by Volonte e Co
(BT.VOLMB763).
Violin SKU: HL.49005557 En studiegang for violinspelet - Andra och tre...(+)
Violin
SKU:
HL.49005557
En
studiegang for
violinspelet - Andra och
tredje laget.
Composed by Erich und
Elma Doflein. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. 60 pages.
Schott Music #ED 5253.
Published by Schott Music
(HL.49005557).
(Cantata for soloists, choir and orchestra). By Johann Sebastian Bach (1685-1750...(+)
(Cantata for soloists,
choir and orchestra). By
Johann Sebastian Bach
(1685-1750). Edited by
Andreas Glockner. For
violin I. This edition:
Urtext edition. Violin 1
part. Published by
Baerenreiter Verlag
Karins latar Violon SATB, Orchestre Gehrmans Musikforlag
Violin SKU: GH.CG-6693 Composed by Karin Gibson. Educational. Gehrmans Mu...(+)
Violin
SKU:
GH.CG-6693
Composed
by Karin Gibson.
Educational. Gehrmans
Musikforlag #CG 6693.
Published by Gehrmans
Musikforlag (GH.CG-6693).
ISBN 9790070006538. A4
inches.
Tio harliga
latar for den som inte
spelat fiol sa lange.
Passar utmarkt som
komplement vid
suzukiundervisning!
Eftersom ingen av latarna
ligger pa E-strangen gar
det bra med samspel med
nyborjare pa viola och
cello. Av Karin
Gibson.
Violin solo SKU: GH.GE-11358 For Solo Violin. Composed by Benjamin...(+)
Violin solo
SKU:
GH.GE-11358
For
Solo Violin. Composed
by Benjamin Staern.
Duration 9 minutes.
Gehrmans Musikforlag #GE
11358. Published by
Gehrmans Musikforlag
(GH.GE-11358).
ISBN
979-0-070-11358-8. A4
inches.
Work
comment by the
composer: The lonely
one was composed during
May and June of the year
2000. It was written for
Annika Gustafsson, to
whom it is also
dedicated. It was
world-premiered on
December 1 the same year
in Caroli Church in
Malmo. After that I had
composed The Threat of
War that was a dramatic
and massive work for
orchestra, I wanted to
focus on melodic as well
as harmonic and
rhyhtmical processes
combined with a inner
dramatic content. In this
case the solo violin
works as a narrator where
the piece itself is like
a monologue without
words. In the score
there are imprinted
expressions like
racontare (tellingly),
piacevole (pleasingly)
och
sospirare(sighing).
The lonely one is divided
in three sections. 1.
Doloroso (Painful) - the
violin plays almost
imperceptly sighing
glissandi that forms the
basic material of the
work. Its character is
constantly searching. It
leads up to the section
Risoluto (Resolute) that
has a very determined and
edgy expression. 2.
Misterioso (Mysteriously)
- the materials from the
previous section are now
further developed. It
builds up and breaks down
during the course of the
journey. Eventually it
reaches a climax on a
high d. 3. Calmando e
espressivo (Calmingly and
expressive) - From the
high d it is stepping
down to a recapture on
material from the first
part slightly changed and
moody character. It dies
out slowly with the
lonely notes.
Volume 28 Suite and Legende for Violin and Orchestra. By Frederick Delius. (Ful...(+)
Volume 28 Suite and
Legende for Violin and
Orchestra. By Frederick
Delius. (Full Score).
Boosey and Hawkes Scores
and Books. Published by
Boosey & Hawkes.
Chamber Ensemble (Study Score) SKU: HL.49046391 For Violin, Cello, Nor...(+)
Chamber Ensemble (Study
Score)
SKU:
HL.49046391
For
Violin, Cello,
Northumbrian pipes,
Hammond Organ and
Orchestr. Composed by
Jon Lord. Edited by Paul
Mann. Study Score.
Classical. Softcover. 146
pages. Duration 3420
seconds. Schott Music
#ED23177. Published by
Schott Music
(HL.49046391).
ISBN
9781540086549. UPC:
842819108696.
The
general inspiration for
the music was an idea of
Durham, garnered from two
or three short visits and
a reading of a short
history - so a sort of
Durham of the mind, a
stylized Durham; 'my'
Durham, if you will,
imagined into music.
However, the
defininginspiration for
the piece was the
Cathedral. My first visit
to Durham in 2001 saw me
standing open-mouthed on
Palace Green, and then in
silent awe as I walked
into that formidable
magnificence inside. Most
of the themes came from
the days immediately
following my first
experience of this
extraordinary, inspiring
building. The feeling
that the very stones and
pillars themselves are
imbued with centuries of
prayer, withpeople's joy,
grief, despair, even
anger; gratitude and
hope. As the tunes and
chords and sounds started
to organize themselves in
my mind and onto
manuscript paper, I
realized that I was
writing a sort of day in
the life of Durham, and
that the Cathedral
wouldbe its beginning,
would be in its middle,
and would be at its
ending. The piece
consists of six
'pictures' arranged into
three parts - the
morning, afternoon and
evening of this imaginary
Durham city. Jon Lord,
2017.
