Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
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.
8 Famous Works for Violin. By Johann Sebastian Bach. De Haske Play-Along Book. P...(+)
8 Famous Works for
Violin. By Johann
Sebastian Bach. De Haske
Play-Along Book. Play
Along. BOOK W/CD. Size
9x12 inches. 16 pages.
Published by DeHaske
Publications.
Violin SKU: ST.Y237 Composed by Morgan Hayes. String music. 3 minutes. Pa...(+)
Violin
SKU:
ST.Y237
Composed by
Morgan Hayes. String
music. 3 minutes. Part.
Stainer & Bell Ltd.
#Y237. Published by
Stainer & Bell Ltd.
(ST.Y237).
ISBN
9790220221835.
1st
perf: Darragh Morgan, The
Picture Gallery, Royal
Holloway College,
University of London, 15
November 2006
Programme
Note Lucky's
Speech was composed at
the request of the
violinist Darragh Morgan,
for the launch of his
recital CD Opera on the
NMC label in June 2006.
The title refers to a
pivotal moment in Samuel
Beckett's play Waiting
for Godot, when the
hitherto silent character
Lucky suddenly pours
forth a torrential stream
of gibberish.
This idea also suggested
the cadenza of my Violin
Concerto, composed in the
same year, and it is
reflected in both cases
by an almost breathless
musical activity
punctuated by pizzicato
commentaries. I should
like to thank Darragh
Morgan for his invaluable
advice in the preparation
of the score.
Violin SKU: ST.Y274 Composed by Morgan Hayes. String music. 3 minutes. Sc...(+)
Violin
SKU:
ST.Y274
Composed by
Morgan Hayes. String
music. 3 minutes. Score.
Stainer & Bell Ltd.
#Y274. Published by
Stainer & Bell Ltd.
(ST.Y274).
ISBN
9790220223358.
1st
perf: Keisuke Okazaki,
Tokyo Opera City Recital
Hall, Tokyo, Japan, 22
April 2008 1st UK
perf: Darragh Morgan,
Schott Recital Room,
Bauer & Hieber,
London, 5 February
2009
Though the
jagged figures and
phrases of Lucky's
Dream by Morgan
Hayes are unmistakably
those of a contemporary
musical expressionist,
the shadow of Bach also
falls on this work,
inspired by the
virtuosity of the young
Japanese soloist Keisuke
Okazaki and his playing
of the E major
Partita.
In
fact, though 'standard'
contemporary techniques
are widely used in the
piece - left-hand
pizzicato, harmonics and
microtones, all deployed
in edgy, unpredictable
rhythms - there is also a
classical shape to the
structure. In this
two-part form, lasting
around four minutes, the
first section is
reflective, dwelling on
single notes, phantoms as
it were of pitches that
are subtly deflected
through slow glissandi.
Then a spectral dance
ensues, delivered largely
on plucked strings,
ethereal, disembodied,
strange.
The
'Lucky' in question is a
character from Samuel
Beckett's play
Waiting for
Godot, and
Lucky's Dream is
a complementary work to
the earlier, impassioned
Lucky's Speech
(2006). The two
items can stand alone or
may be performed
consecutively. Both are
to be found on the recent
all-Hayes CD released on
the NMC label (NMC D163),
which also features the
composer's 17-minute
Violin Concerto as
further evidence for his
original approach to
writing for the
instrument.
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.
Violin, Organ SKU: SU.27020070 For Violin, Organ. Composed by Grah...(+)
Violin, Organ
SKU:
SU.27020070
For
Violin, Organ.
Composed by Graham Gordon
Ramsay. Strings, Violin,
Keyboard, Organ. Score &
Parts. Subito Music
Corporation #27020070.
Published by Subito Music
Corporation
(SU.27020070).
Four movements
inspired by Vivaldi's The
Four Seasons; approximate
duration: 16'
(http://ggrcomposer.squar
espace.com/works-instrume
ntal-elementsand/)Violin,
Organ Composed: 2008
Published by: Distributed
Composer.
Christmas Pastorale Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin & Organ SKU: SU.50025430 For Violin & Organ. Composed by Ga...(+)
Violin & Organ
SKU:
SU.50025430
For
Violin & Organ.
Composed by Gardner Read.
Strings, Violin.
Accompanied by organ.
Score & Parts. Seesaw
Music Corp #50025430.
Published by Seesaw Music
Corp (SU.50025430).
Serenade Violon [Conducteur et Parties séparées] Subito Music
Violin & Organ SKU: SU.95010490 For Violin & Organ. Composed by Ju...(+)
Violin & Organ
SKU:
SU.95010490
For
Violin & Organ.
Composed by Judith Lang
Zaimont. Strings,
Violin,Keyboard, Organ.
Score & Parts. Composed
2008. Duration 10'.
Subito Music Corporation
#95010490. Published by
Subito Music Corporation
(SU.95010490).
Violin,
Violoncello, Piano
Duration: 10' Composed:
2008 Published by: Subito
Music Publishing.
Violin SKU: HL.50600994 For Violin Solo. Composed by Johannes X. S...(+)
Violin
SKU:
HL.50600994
For
Violin Solo. Composed
by Johannes X.
Schachtner. String.
Classical. Softcover. 8
pages. Sikorski #SIK8823.
Published by Sikorski
(HL.50600994).
8.0x11.75x0.055
inches.
Commissione
d by
Leopold-Mozart-Kuratorium
Augsburg e.V. as partner
of the Augsburg
University in cooperation
with the Mozartbüro of
the City of Augsburg
“Anthologies were
important during Leopold
Mozart's lifetime. All
knowledge was to be
collected and made
available, and Mozart's
'Versuch einer
gründlichen
Violinschule' (A Treatise
on the Fundamental
Principles of Violin
Playing) is also to be
regarded in this context.
My 'Florilegium' (the
Latin word for
'Anthology' –
'Blossom Collection')
follows this tradition. I
thus collected more or
less loose 'blossoms':
individual turns of
phrase and gestures from
Leopold Mozart's Violin
Treatise, as well as from
books that include the
extended techniques of
violin playing in use
today. I attempted to
organize this 'blossom
collection' – in a
double sense of word
– during the
course of the
compositional process and
to transfer them into my
own language. Ultimately
the idea was to create an
album piece that would
allow the sound of the
violin to blossom in its
various facets ...
including prickly
thorns!†(Johannes
X. Schachtner).
Contemporary Violin
Studies. Composed by
Garth Knox. This edition:
Saddle stitching. Sheet
music. String Method. 20
praxiserprobte
Unterrichtsstunden.
Classical, Etude.
Softcover. Composed 2017.
52 pages. Schott Music
#ED22971. Published by
Schott Music
(HL.49046112).
ISBN
9790001188685. UPC:
842819100164.
9.0x12.0x0.198 inches.
German - English -
French.
Garth Knox
is one of the most
prolific violists of his
generation, and as a
former member of the
Arditti Quartet for
years, he has developed
his love of contemporary
music. He now gives
concerts and organizes
workshops all over the
world. Following his
highly successful Viola
Spaces, he has now
released the Violin
Spaces, concert etudes
for violin, which bring
advanced playing
techniques to advanced
players. The pieces - or
â??spacesâ? - give
each of them a space for
specific techniques, such
as the flageolette,
pizzicato technique (with
10 fingers!) Or glissando
variants. The Violin
Spaces are dedicated to
the violinist Diamanda
Dramm, who worked closely
with the composer during
the development of the
pieces.
Violin SKU: HL.48186062 Composed by Jean-Marie Leclair. Leduc. Classical....(+)
Violin
SKU:
HL.48186062
Composed
by Jean-Marie Leclair.
Leduc. Classical.
Softcover. Alphonse Leduc
#AL29892. Published by
Alphonse Leduc
(HL.48186062).
UPC:
888680828653.
9.0x12.25x0.136
inches.
Jean-Marie
Leclair: Concerto Op.10,
No.2 in A major (Score)
POUR VIOLON, ORCHESTRE A
CORDES, CLAVECIN OU ORGUE
(PARTITION) For Violin,
String Orchestra,
Clavecin or Organ
(Score).
Orchestra; Organ; Violin (Study Score) SKU: HL.49009513 For Violin, Or...(+)
Orchestra; Organ; Violin
(Study Score)
SKU:
HL.49009513
For
Violin, Organ, and
Orchestra. Composed
by Antonio Vivaldi.
Edited by Felix
Schroeder. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Study Score.
Op. 64/4. 30 pages.
Duration 13'. Eulenburg
Edition #ETP 1273.
Published by Eulenburg
Edition (HL.49009513).
ISBN 9783795762926.
UPC: 073999359138.
5.25x7.5x0.146
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Wed! Violon [Conducteur et Parties séparées] Seesaw Music Corp
Violin & Piano (Organ) SKU: SU.50026960 For Violin & Piano (Organ)...(+)
Violin & Piano (Organ)
SKU: SU.50026960
For Violin & Piano
(Organ). Composed by
Thomas Rice. Strings,
Violin. Accompanied by
piano. Score & Parts.
Seesaw Music Corp
#50026960. Published by
Seesaw Music Corp
(SU.50026960).
Chamber Music violin, viola SKU: PR.114419730 For violin and Viola...(+)
Chamber Music violin,
viola
SKU:
PR.114419730
For
violin and Viola.
Composed by Chen Yi. Sws.
Set of Score and Parts.
8+2+2 pages. Duration
2:30. Theodore Presser
Company #114-41973.
Published by Theodore
Presser Company
(PR.114419730).
ISBN
9781491132333. UPC:
680160681686. 9 x 12
inches.
Chen Yi
describes the cheery
interplay of HAPPY TUNE
as: “When one
instrument plays a
livelymelody, the other
plays a vivid rhythmic
pattern in the
accompaniment. The pair
of string
instrumentsimitates the
sound of primitive
Chinese folk song
singing, as well as the
Chinese traditional
windinstrument sheng, a
mouth pipe organ.â€
Published as a shared
score and extracted
parts, and writtenas a
celebration piece
honoring the 25th
anniversary of the Great
Lakes Chamber Music
Festival. Composed to
celebrate the 25th
Anniversary of the Great
Lakes Chamber Music
Festival, my violin and
viola duet HAPPY TUNE was
written for Kim
Kashkashian and Tien-Hsin
Cindy Wu, and premiered
at the festival on June
16, 2018.I fondly
remember being invited by
the GLCMF (directed by
Prof. James Tocco) to be
the dual Stone
Composers-in-Residence
with my husband Zhou
Long, along with the
Stone Composer Fellow
Nicholas Omiccioli in
2011. We had a dozen of
our chamber works
performed excellently by
the outstanding chamber
ensembles and musicians
during the week, meeting
enthusiastic audiences
and supporters of new
music in various venues
at the festival. The
experience was truly
inspiring, and I created
HAPPY TUNE to honor the
GLCMF, with hopes to
carry on the high spirit
in our new music
society.In this duet,
when one instrument plays
a lively melody, the
other plays a vivid
rhythmic pattern in the
accompaniment. The pair
of string instruments
imitates the sound of
primitive Chinese folk
song singing, as well as
the Chinese traditional
wind instrument sheng, a
mouth pipe organ.
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
(from Die Zauberflote ). By Wolfgang Amadeus Mozart (1756-1791). Edited by Yvon...(+)
(from Die Zauberflote ).
By Wolfgang Amadeus
Mozart (1756-1791).
Edited by Yvonne Morgan.
For 2 flutes (flute and
violin). Score. Published
by Amadeus Verlag
Composed by William Bay. Saddle-stitched. Lively Tunes. Celtic / Irish. Book...(+)
Composed by William Bay.
Saddle-stitched. Lively
Tunes. Celtic / Irish.
Book.
32 pages. Mel Bay
Publications, Inc #WBM38.
Published by Mel Bay
Publications, Inc
Violin SKU: HL.50603952 MS83. Composed by Nicolo Paganini. String ...(+)
Violin
SKU:
HL.50603952
MS83. Composed by
Nicolo Paganini. String
Solo. Classical,
Virtuoso. Softcover. 48
pages. Ricordi #NR142388.
Published by Ricordi
(HL.50603952).
ISBN
9781705162583. UPC:
196288062684.
9.0x12.0x0.161
inches.
The Sonata
à violin solo (M.S.
83) is an early work by
Paganini that can be
ascribed to the years
1796-1800, a period which
includes works such as
the posthumous Grande
concerto (M.S. 75), the
Inno patriottico con
variazioni (M.S. 81) and
the Tema variato (M.S.
82)for violin. There are
no doubts as to the
authenticity of the work:
the highly virtuosic
experimental writing, the
indications
“Organettoâ€
and
“Flagiolettoâ€
and the use of the fourth
string are all
distinctive traits found
in Paganini's writing
from this period which
link the Sonata to the
Inno patriottico con
variazioni and the Tema
variato. The most
significant
characteristics of this
composition are its
length and the
three-movement structure
that connect it to the
Classical style, at least
far as the first movement
is concerned: it is
written in sonata form,
something rarely seen in
Paganini's solo violin
works.