Violin and Orchestra SKU: HL.14013430 Composed by Pelle Gudmundsen-holmgr...(+)
Violin and Orchestra
SKU: HL.14013430
Composed by Pelle
Gudmundsen-holmgreen.
Music Sales America. 20th
Century. Score. 130
pages. Music Sales
#KP01589. Published by
Music Sales
(HL.14013430).
ISBN
9788759869857.
12.25x16.5x0.678 inches.
English-Danish.
Cadenzas to Beethoven's Violin Concerto fur Violin and Orchestra op. 61 by Ludwi...(+)
Cadenzas to Beethoven's
Violin Concerto fur
Violin and Orchestra op.
61 by Ludwig van
Beethoven (1770-1827).
Edited by Martin
Wulfhorst. For violin
solo (violin and
orchestra). This edition:
Stapled. For piano
reduction and performance
material see BA 9019.
Performance score,
Anthology. Opus 61. 59
pages. Published by
Baerenreiter Verlag
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Violin SKU: AP.6-450414 Interviews with Heifetz, Auer, Kreisler, and o...(+)
Violin
SKU:
AP.6-450414
Interviews with
Heifetz, Auer, Kreisler,
and others. Edited by
Frederick H. Martens.
Reference Textbooks;
Textbook - Instrumental.
Dover Edition.
Instructional and Music
Appreciation.
Biographical book. 178
pages. Dover Publications
#06-450414. Published by
Dover Publications
(AP.6-450414).
ISBN
9780486450414. UPC:
9780486450414. 9x12
inches.
English.
How long
should I practice? Which
pieces should I study?
How can I develop a
singing tone? All
violinists ponder these
questions, striving to
make the most of their
practice and
performances. This
enlightening and
encouraging book holds
the answers, offering a
series of interviews with
the most celebrated
violin teachers and
performers of the
nineteenth and early
twentieth
centuries.Twenty-four
famous violinists reveal
the secrets of their
success, sharing the
lessons of their artistry
and experience. In
addition to aesthetic and
technical aspects of
playing, they discuss
their personal
conceptions of violin
mastery. Eugene Ysaye
reminisces about his
studies with Vieuxtemps
and Wieniawski, and
Leopold Auer emphasizes
the importance of
fostering students'
individual talents. Maud
Powell describes her
pioneering role as a
female orchestral
musician, and Jascha
Heifetz voices his views
on technical mastery and
temperament. Hints and
advice from other masters
include tips on efficient
practice, immproving bow
technique, and refining
intonation. A rare find
in musical literature,
this book is essential
reading for every serious
violinist.Dover (2006)
unabridged republication
of the work originally
published by Frederick A.
Stokes, New York,
1919.
Violin SKU: BA.BA06623 Violinschule, Band 1. Composed by Hella Har...(+)
Violin
SKU:
BA.BA06623
Violinschule, Band
1. Composed by Hella
Hartung-Ehlert. Stapled.
Gemeinsam von Anfang an.
Instructional.
Performance score. 80
pages. Baerenreiter
Verlag #BA06623_00.
Published by Baerenreiter
Verlag (BA.BA06623).
ISBN 9790006498260. 21
x 29 cm inches. Language:
German. Preface: Hella
Hartung-Ehlert.
Fur
den Gruppenunterricht mit
zwei bis vier Kindern vom
Vorschulalter oder
Schulbeginn an.
Violin and Orchestra SKU: BT.EMBZ40060 Composed by Ludwig van Beethoven. ...(+)
Violin and Orchestra
SKU: BT.EMBZ40060
Composed by Ludwig van
Beethoven. EMB Study
Scores. Solo & Concerto.
Book Only. Editio Musica
Budapest #EMBZ40060.
Published by Editio
Musica Budapest
(BT.EMBZ40060).
Though some
themes of the D major
Violin Concerto appear
fragmentarily among
Beethoven's earlier
drafts, the score
received its final shape
- according to the
autograph manuscript - in
1806 only. The first
performance took place on
December 23 of the same
year in Vienna, the
violon solo was played by
Franz Clement. The
concerto met with a
rather cold reception:
this critic of the Wiener
Theaterzeitung admitted
'some beauty' in it but
for the rest he found
that '...the coherence
often seems totally
broken and the endless
repetitions of some
commonplace sections can
easily become tedious.'
The performance may have
not been totally
satisfying, it is
certainly surprising that
the setof parts published
in 1808 is dedicated to
Stephan von Breuning
instead of Clement. It is
not impossible that
Beethoven lost faith in
the value and future of
his work, too, - his
later attempt to change
it into a piano concerto
can be interpreted in
this way.
Concerto for Violin and Orchestra. By Wolfgang Amadeus Mozart. Edited by Christo...(+)
Concerto for Violin and
Orchestra. By Wolfgang
Amadeus Mozart. Edited by
Christoph Hellmut
Mahling. For Violin
Solo.orch. B0renreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition
(paperbound). KV 216.
Published by
Baerenreiter-Taschenparti
turen (German import).
Violin and orchestra SKU: LM.29209 Composed by Hugues Dufourt. Classical:...(+)
Violin and orchestra
SKU: LM.29209
Composed by Hugues
Dufourt. Classical: 20th
Century (Contemporary).
Score. Editions Henry
Lemoine #29209. Published
by Editions Henry Lemoine
(LM.29209).
Violinkonzerte Nr. 1+2 Orchestre, Violon SATB, Orchestre [Conducteur] PWM (Polskie Wydawnictwo Muzyczne)
Violin and Orchestra SKU: BT.PWM6751002 Composed by Karol Szymanowski. Cl...(+)
Violin and Orchestra
SKU: BT.PWM6751002
Composed by Karol
Szymanowski. Classical.
Score Only. Polskie
Wydawnictwo Muzyczne
#PWM6751002. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM6751002).
Violin and Orchestra SKU: BT.EMBZ40073 By Gabor Darvas. By Johannes Brahm...(+)
Violin and Orchestra
SKU: BT.EMBZ40073
By Gabor Darvas. By
Johannes Brahms. EMB
Study Scores. Solo &
Concerto. Book Only. 116
pages. Editio Musica
Budapest #EMBZ40073.
Published by Editio
Musica Budapest
(BT.EMBZ40073).