Violin

SKU: HL.50601534

Violin Concertato Solo Part. Composed by Georg Philipp Telemann. String. Baroque, Classical. Softcover. 8 pages. Sikorski #SIK244VLN CO. Published by Sikorski (HL.50601534).

9.0x12.0x0.038 inches.

Concerto for Violino concertato, Trumpet (in D), 3 Violins, 2 Violas, Violoncello obligato and basso continuo. Violin concertato solo part only. Set of Parts HL #50483555.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

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.

For violin. Format: violin solo book (excerpts only). Baroque, Classical Period and Romantic Period. 64 pages. 9x12 inches. Published by Music Sales. (MS.AM84153) A selection of all the best-known tunes and themes in the classical repertoire, carefully edited for violin solo. Includes works by Mozart, Bach, Beethoven, Chopin and many more great composers.

By Mary Ann Harbar. For Violin. Solos. Classic. Level: Intermediate. Book/CD Set. Size 9x11.75. 128 pages. Published by Mel Bay Publications, Inc.

Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by Hal Leonard

Arranged by Artem Vassiliev. For Violin. This edition: ED13168. Schott Master Play-Along Series. 12 favourite works from the Classical era, with authentic orchestral backing tracks. Play Along. Collection and Play-Along CD. 28 pages. Published by Schott Music.

Orchestra Bassoon, Cello, Clarinet, Contrabass, English Horn, Flute, Horn, Oboe, Timpani, Trumpet, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.44641076P

For violin, Violoncello and Orchestra (Double Concerto). Composed by Ellen Taaffe Zwilich. Set of parts. With Standard notation. Duration 18 minutes. Theodore Presser Company #446-41076P. Published by Theodore Presser Company (PR.44641076P).

UPC: 680160095988.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.46600040L

For violin and Orchestra. Composed by Dan Welcher. Premiere: Paul Kantor, Violin, Aspen Festival Orchestra, conducted by the composer. Contemporary. Large Score. With Standard notation. Composed December 26 1992. 186 pages. Duration 25 minutes. Theodore Presser Company #466-00040L. Published by Theodore Presser Company (PR.46600040L).

UPC: 680160599134. 11 x 17 inches.

Orchestra Bassoon, Cello, Clarinet, Contrabass, Flute, Horn, Oboe, Piano, Timpani, Trumpet, Viola, Violin, Violin 1, Violin 2, Violoncello

SKU: PR.446411020

For violin , Violoncello, Piano and Orchestra. Composed by Ellen Taaffe Zwilich. Classical. Large Score. With Standard notation. Composed 1995. Duration 24 minutes. Theodore Presser Company #446-41102. Published by Theodore Presser Company (PR.446411020).

UPC: 680160096237.

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percussion, 3 Trumpets in C, 4 Horns in F, Bass Clarinet, Bass Trombone, Piccolo, Solo Violin, Strings, Timpani

SKU: PR.416414600

For violin and Orchestra. Composed by Samuel Adler. Premiere: Tulsa Symphony Orchestra, Siwoo Kim, violin; Tulsa, OK. Contemporary. Full score. With Standard notation. Composed 2012. Duration 20 minutes. Theodore Presser Company #416-41460. Published by Theodore Presser Company (PR.416414600).

UPC: 680160612246. 8.5 x 11 inches.

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percussion, 3 Trumpets in C, 4 Horns in F, Bass Clarinet, Bass Trombone, Piccolo, Solo Violin, Strings, Timpani

SKU: PR.41641460L

For violin and Orchestra. Composed by Samuel Adler. Premiere: Tulsa Symphony Orchestra, Siwoo Kim, violin; Tulsa, OK. Contemporary. Large Score. With Standard notation. Composed 2012. Duration 20 minutes. Theodore Presser Company #416-41460L. Published by Theodore Presser Company (PR.41641460L).

UPC: 680160612253. 11 x 15 inches.

Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboes (Oboe II doubles on English Horn), 2 Trombones (Trombone II doubles on Bass Trombone), 2 Trumpets in C, 3 Flutes (Flute III doubles on Piccolo), 4 Horns in F, Harp, Piano/Cel, Timpani

SKU: PR.44641253L

For violin and Orchestra. Composed by Stephen Jaffe. Contemporary. Large Score. With Standard notation. Composed Dec-99. Duration 35 minutes. Theodore Presser Company #446-41253L. Published by Theodore Presser Company (PR.44641253L).

UPC: 680160593422. 11 x 17 inches.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.