Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
Musical Challenges Violon et Piano [Partition + CD] De Haske Publications
Violin and Piano SKU: BT.DHP-1115211-400 Composed by Jaap van Elst and Wi...(+)
Violin and Piano
SKU:
BT.DHP-1115211-400
Composed by Jaap van Elst
and Wim Meuris. Speel
viool! Book with CD.
Composed 2011. 56 pages.
De Haske Publications
#DHP 1115211-400.
Published by De Haske
Publications
(BT.DHP-1115211-400).
9x12 inches.
French-Spanish-Italian.
p>
Musical
Challenges works
alongside the third
volume of the violin
method Play the
Violin!, but it can
also be used by
intermediate students
along with any other
method. The pieces are in
jazz, pop, world music
and classical styles and
contain musical as well
as technical challenges
with some being
accompanied by a relevant
technical exercise. Many
of the pieces have chord
symbols or piano
accompaniment whilst
others are duets. The CD
contains all
accompaniments and many
demo
tracks.
Musical
Challenges sluit aan
op het derde deel van
Speel Viool!, maar
kan ook los van deze
methode worden gebruikt.
De stukken in de stijlen
jazz, pop en klassiek
bevatten zowel technische
als muzikale uitdagingen,
enkeletitels worden
voorafgegaan door een
technische oefening. Een
aantal werken kan als
duet worden uitgevoerd en
andere stukken zijn
voorzien van
akkoordsymbolen of
pianobegeleiding.
Daarnaast kan met de cd,
die ook talrijke
demo'sbevat, worden
meegespeeld.
Mu
sical Challenges
schlieÃ?t an den dritten
Band der Schule Spiel
Violine! an, kann
aber von allen
fortgeschrittenen
Geigenschülern
verwendet werden. Die
Stücke in den Stilen
Jazz, Pop, Weltmusik und
Klassik enthalten sowohl
musikalische als auch
technische
Herausforderungen;
teilweise sind sind sie
mit Akkordsymbolen oder
Klavierstimmen versehen
oder als Duett
ausnotiert. AuÃ?erdem
kann zu den beiden CDs
gespielt werden, die
sämtliche Begleitungen
und zahlreiche
Demoversionen
enthalten.
Musical Challenges
rappresenta valido
materiale complementare
da usare assieme (ma
anche individualmente) al
secondo volume del metodo
Suona il Violino!
I brani proposti sono in
stile jazz, pop, folk e
classico (musica
originale e non) e
contengono sfide musicali
e tecniche. Alcuni brani
propongono un breve
esercizio tecnico, mentre
altri contengono i
simboli degli accordi o
le parti del piano. Sono
previsti anche alcuni
duetti. E per chi non ha
un altro musicista con
cui suonare, il CD
propone gli
accompagnamenti e un
grande numero di tracce
demo.
Piano Accompaniment; Violin (Score and Solo Part) SKU: HL.50600469 For...(+)
Piano Accompaniment;
Violin (Score and Solo
Part)
SKU:
HL.50600469
For
Violin and Piano.
Composed by Krzysztof
Meyer. String. Classical,
Contemporary. Softcover.
48 pages. Sikorski
#SIK1496. Published by
Sikorski (HL.50600469).
8.25x11.75x0.14
inches.
“I
belong to that group of
people who appropriate
Debussy's wonderfully
formulated philosophy
according to which music
begins where words end.
Contrary to a view that
has become widespread
during the past 100
years, I am convinced
that the task of the
composer is to write
music, not to talk about
it. Even if my technical
and aesthetic
commentaries on one of my
compositions were to have
a certain value for
listeners, such a
commentary would have the
effect that I were more
or less forcing my own
vision of the work onto
the listener. The power
of music is, however, a
gift that makes it
capable of calling forth
different reactions in
listeners. I shall
therefore limit myself to
saying that the
'Imaginary Variations'
were inspired by the
wonderful recordings of
Janet Packer that I
listened to with the
greatest pleasure prior
to the beginning of my
work. The title is
derived from the fact
that this composition is
structured similarly to
the classical variation
form and that the
audience can listen to
the constant changes of
the musical ideas. In
truth, however, the
twelve short sections of
the work are not true
variations even though
they reveal some
connections and
similarities.â€
(Krzysztof Meyer).
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.414411630
Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation.
28+28+20+24+20+24 pages.
Duration 20 minutes.
Theodore Presser Company
#414-41163. Published by
Theodore Presser Company
(PR.414411630).
ISBN
9781491114551. UPC:
680160089956. 9.5 x 13
inches.
EXCURSIONS
is a one-movement work
exploring two
“characters.â€
A rhapsodic, descending
passage is introduced by
the cello, followed by
a static,
chorale-like phrase for
the violin and cello.
Their individual
developments are
separated by a slow,
contrasting middle
section. The composer has
written: “This is
analogous to situations
in life: we stand by a
crossroad, choosing one
option and forfeiting the
other. But in art, the
realm of the imagination,
we can perhaps afford to
pursue more than one
route to its ultimate
destination… or can
we? It is symbolic that
in this work both roads
eventually lead to the
same
place.â€. Excursi
ons for violin, cello and
piano, is a one-movement
work of tripartite
structure in which
materials explored in the
first of three large
sections are brought back
in the last section.Â
The traditional
statement-contrast-restat
ement form, which is
readily suggested by such
a description, is,
however, not at all in
the mold in which the
work is cast. Rather,
my aim was to subject the
essential materials of
the piece (two
“charactersâ€
–the rhapsodic,
descending passage played
by the cello in the very
opening and, later, a
static, slow moving,
chorale-like phrase for
the violin and cello) to
two entirely different
developments separated by
a slow, contrasting
middle section. This
is analogous to an
exploration of the
ramifications that two
divergent choices made by
the same person might
lead to. In life, as
we stand by a crossroad,
choosing one option
usually means having to
forfeit the other.Â
But in art, the realm of
the imagination, we can
perhaps afford to pursue
more than one route to
its ultimate
destination…or can
we? It is, I believe,
symbolic that in this
work both roads
eventually lead to the
same place: in composing
Excursions, it seemed
absolutely inescapable
that at the end the slow,
contrasting middle
sections – both
more resigned and
peaceful than the
battling spirits of the
outer parts –
should return briefly to
end the work. The
piano trio combination
(once highly favored, but
to this composer still as
challenging today) is
approached here as a
collaborative effort of
three equal soloists
– partners. Of
the available pairings,
the two strings find
themselves occasionally
approached as a team
pitted against the
piano. The
cello-piano combination
is also not uncommon
here, and there is an
extended violin cadenza
toward the end of the
piece. The writing
for the three instruments
is closely and at times
interlinked, but the
players are all
instructed to play from
scores. Excursions was
first performed at
Brandeis University in
1982.
Violin, piano SKU: FG.55011-466-1 Composed by Armas Jarnefelt. Fennica Ge...(+)
Violin, piano
SKU:
FG.55011-466-1
Composed by Armas
Jarnefelt. Fennica
Gehrman #55011-466-1.
Published by Fennica
Gehrman (FG.55011-466-1).
ISBN
9790550114661.
Arma
s Jarnefelt (1869-1958)
was a Finnish composer
and conductor. Jarnefelt
studied in Berlin in
1890-91 with Albert
Becker as his teacher. In
addition to composing
studies, Jarnefelt fully
enjoyed the life that a
bustling metropolis could
offer to a young man -
concerts, operas, cafe
life etc. Romanze,
composed for Geraldine
Morgan, was premiered in
Helsinki in February
1892. According to
critics (notably Bis
Wasenius) the work was
un-Finnish, perhaps
echoing the continental
winds Jarnefelt had
experienced in Berlin.
That aside, Jarnefelt's
future brother-in-law,
Jean Sibelius, analyzed
the Romanze in a letter
to his fiancee, Aino,
sister of Armas: I think
Romanze is a fine
technical accomplishment,
even the structure works
well, given the theme as
it is. But Armas
certainly can do better
than this, he should not
waste his efforts in
small-scale [salon]
music. - Armas will find
his own way and will be
hailed as the greatest
musician of this
country..
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
Violin, Piano SKU: BA.BA11086 Composed by Thomas Daniel Schlee. Stapled. ...(+)
Violin, Piano
SKU:
BA.BA11086
Composed
by Thomas Daniel Schlee.
Stapled. Urauffuhrung
24.10.2017, Wien.
Performance score, Part
(1). Opus 82. 20/9 pages.
Baerenreiter Verlag
#BA11086_00. Published by
Baerenreiter Verlag
(BA.BA11086).
ISBN
9790006564446. 32.5 x
25.5 cm inches.
A
suite whose movements
always deliver something
other than what they seem
to promise. But
throughout, the two
instruments and
respectively their
players act like two
people in very specific
situations:
I.:
The opening movement is
reserved for the piano;
the initially earnest,
solitary cantilena
intensifies creating
expectation.
Suddenly II.: the
violin sounds. Its moving
figures replace the now
silent piano, also
soloistically. III.
„Passacaglia“
: The title is taken
literally – the
two instruments/persons
encounter each other in
the street. Two musical
characters who meet at a
specific point, recognize
each other, but move on
again, each one by
itself. IV.
„Rondo“: The
two of them dance
together. Before me, I
saw people dancing the
Sardana – a round
dance – in front
of the cathedral of
Barcelona. Four themes in
different time signatures
circle ceaselessly
between the two
instruments. V.
„Fuga“: At
last, regardless, panic
flight – again the
title is taken literally
... Human, only too human
…
Piano Accompaniment; Violin (violin/piano) SKU: HL.51481275 Violin and...(+)
Piano Accompaniment;
Violin (violin/piano)
SKU: HL.51481275
Violin and Piano.
Composed by Peter Ilyich
Tchaikovsky. Edited by
Alexander Komarov. Henle
Music Folios. Classical.
Softcover. 50 pages. G.
Henle #HN1275. Published
by G. Henle
(HL.51481275).
UPC:
888680991661.
9.25x12.25x0.157
inches.
“Memo
ry of a dear placeâ€
is the title given to
this collection of three
enchanting pieces for
violin and piano. The
“place†in
question was the country
estate of Brailov that
belonged to Tchaikovsky's
patron and friend
Nadezhda von Meck. He
stayed there in idyllic
seclusion in May 1878 and
completed this work.
These pieces were
composed very close in
time to his Violin
Concerto, and they too
demonstrate Tchaikovsky's
matchless gifts as a
Romantic master of
melody. For this edition,
the Russian Tchaikovsky
specialist Alexander
Komarov offers the
highest degree of
editorial precision,
having drawn on all the
relevant sources from
both Russian and
international archives.
In the course of his work
he has also been able to
disprove beyond a doubt
the view held up to now
that the title Souvenir
d'un lieu cher was only
added after Tchaikovsky's
death.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
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decisions
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Piano Accompaniment; Violin (Score and Solo Part) - Grade 4 SKU: HL.14047780<...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - Grade 4
SKU:
HL.14047780
For
Violin and Piano.
Composed by Niels
Marthinsen. Music Sales
America. Classical.
Softcover. Composed 2015.
28 pages. Duration 900
seconds. Edition Wilhelm
Hansen #WH32781.
Published by Edition
Wilhelm Hansen
(HL.14047780).
ISBN
9788759837511. 10.0x14.5
inches.
English.
Program
Note: Resurrection is the
act of bringing something
back to practice, notice,
use or vibrancy - never
mind raising the dead.
I've brought new life to
two forgotten works of
mine by subtly merging
them into each other and
touching them up with 20
extra years of
craftmanship. So they're
reworked; reimagined -
but still a Blast from
the Past: I've remained
true to the way we used
to do it back in the
90ties. -Niels
Marthinsen.
And Piano,- Version for Violin and Piano. By Robert Schumann. Edited by W. Haug-...(+)
And Piano,- Version for
Violin and Piano. By
Robert Schumann. Edited
by W. Haug-Freienstein.
Violin. Pages: Score =
VII and 29 * Vl Part = 8.
Edition for Violin-paper
bound. Published by G.
Henle.