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.

For Wind Orchestra and opt. Solo Fiddle. Composed by Johan De Meij. Amstel Music. Irish, Folk. Softcover. 46 pages. Amstel Music #AM143-140. Published by Amstel Music (HL.4005098).

By Vittorio Monti (1868-1922). Arranged by Marco Tamanini. For violin and concert band. Baton Music Instrumental Series. For Violin and Orchestra. Grade 3. Full score and parts. Duration 5:00. Published by Baton Music

By James McLeod. Orchestra Method/Study. Musical Buffet of All Time Favorites. Level: Grade 3. Music Book. Published by Neil A. Kjos Music Company.

Composed by Pablo de Sarasate (1844-1908). Arranged by Andreas van Zoelen. For Violin and Concert Band. Grade 3. Full score and set of parts. Duration 9:00. Published by Baton Music

Violin and orchestra

SKU: BO.ICCMU329

Composed by Enrique Fdez. Arbos. Other Materials. ICCMU. Published by Editorial de Musica Boileau (BO.ICCMU329).

Full Score. By Gyorgy Kurtag. EMB. Size 11.5x16.5 inches. 54 pages. Published by Editio Musica Budapest.

Composed by Philip Glass (1937-). Music Sales America. Contemporary Music. Score Only. 156 pages. Dunvagen Music Publishers #MUSDU10032. Published by Dunvagen Music Publishers

By Robert Frost. Orchestra Method/Study. Primo Encores. Individual Methods and Studies. Level: Grade 2.5. Music Book. Published by Neil A. Kjos Music Company.

By Jules Massenet (1842-1912). Arranged by Marco Tamanini. For violin and concert band. Baton Music Instrumental Series. From the Opera Thais. Grade 3. Score. Duration 4:30. Published by Baton Music

(for Violin). Composed by Camille Saint-Saens (1835-1921). Arranged by Jos van de Braak. For Violin and Concert Band. Grade 4. Full score and set of parts. Duration 9:00. Published by Baton Music

Violin, orchestra Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Birgit Muller. Breitkopf and Haertel #OB 5645-27. Published by Breitkopf and Haertel

Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Birgit Muller. Score. Breitkopf and Haertel #PB 5645. Published by Breitkopf and Haerte

Violin and Orchestra

SKU: HL.50485236

Composed by Ludwig van Beethoven. Classic. EMB. Solo & Concerto. Book [Softcover]. Op. 61. Editio Musica Budapest #Z40060. Published by Editio Musica Budapest (HL.50485236).

ISBN 9790080400609. A/5 (14,2x20) inches. Gabor Darvas.

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.

Orchestra; Violin (Study Score)

SKU: HL.49045166

Study Score. Composed by Ryan Wigglesworth. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 2011. 72 pages. Duration 16'. Schott Music #ED13695. Published by Schott Music (HL.49045166).

ISBN 9790220135002. UPC: 888680724214. 8.25x11.75x0.276 inches.

Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece. The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centers on a twofold search. First there is the ongoing pursuit to recapture the simple melodic material stated by the solo violin - accompanied by thar harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabas Kelemen and the Halle.

Composed by William Walton (1902-1983). Edited by David Lloyd-Jones. For violin and orchestra (solo violin, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, strings). William Walton Edition. Pieces and Studies. Level D (difficult). Study score. 184 pages. Duration 30'. Published by Oxford University Press

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.