For Violin. Classical (duets). Contains printed music score and a compact disc f...(+)
For Violin. Classical
(duets). Contains printed
music score and a compact
disc featuring all the
works in split-channel
stereo, with the first
violin on the right
channel, the second
violin on the left. By
adjusting the balance,
the soloist can remove
either violin and play
the other. Published by
Music Minus One.
Composed by Andrew Lloyd Weber. For violin solo. Format: violin solo book. With ...(+)
Composed by Andrew Lloyd
Weber. For violin solo.
Format: violin solo book.
With standard notation.
Broadway. 16 pages. 9x12
inches. Published by Hal
Leonard.
Chamber Music Violin SKU: PR.114418750 Composed by Michael Hersch. Sws. P...(+)
Chamber Music Violin
SKU: PR.114418750
Composed by Michael
Hersch. Sws. Performance
Score. 8 pages. Duration
11 minutes. Theodore
Presser Company
#114-41875. Published by
Theodore Presser Company
(PR.114418750).
ISBN
9781491129524. UPC:
680160655489. 9 x 12
inches.
The
seven-movement in the
snowy margins might be
considered a sort of
atomic suite, as each
movement is succinct, yet
a microcosmic powerhouse
inspired by “The
Comet,” by Polish
writer and Holocaust
victim Bruno Schulz.
Hersch’s intensity is
expressed through
dramatically captivating
violin gestures, pushing
the boundaries of
texture, technique, and
emotion. Michael
Hersch’s in the snowy
margins was written in
2010. Like much of his
work, it is grounded in
literature and art. The
title is drawn from a
short story, The Comet by
Polish writer, poet, and
artist, Bruno Schulz
(1892-1942). This forms
the last of his
collection The Street of
Crocodiles, published in
1934. Schulz was shot by
a Nazi officer in
1942.Both the title of
Hersch’s work, and the
‘motto’ found on the
composer’s manuscript
(‘Thus far and no
further. But what has
become of the end of the
world…’) are to be
found in The Comet.
It’s interesting that
in in the snowy margins,
unlike his earlier
Fourteen Pieces which
were inspired by the
poetry of Primo Levi,
Hersch chose to not title
each individual movement
with a quote. However his
choices of text are
applied, there is a clear
quality of distillation.
In every case, the texts
which the composer has
chosen to eschew lie
beneath the music, akin
to the greater mass of an
iceberg, submerged, but
imminent.Hersch also has
very particular taste in
visual art, and there
seems to be common ground
between the intensely
expressionist drawing of
Schulz, and those of
Michael Mazur, which
inspired his string
quartet Images from a
Closed Ward. The
parallels between these
artists reflect common
traits shared between
these two pieces, which
provide a window on how
the music should be
approached, expressively
and technically. I would
argue, that from a
violinist’s point of
view, this pertains
directly to how bow and
left hand should approach
the string: the febrile
vibrancy of both Mazur
and Schulz’s pencil and
charcoal strokes, perhaps
what T.S. Eliot called
the ‘circulation of the
lymph’, in every
gesture, speaks to the
intense experience,
physically and
emotionally, of playing
(and hearing) this music.
There is an intense sense
of ‘truth to
materials’ at every
moment, the sense that
every note sings on the
edge of, or even beyond,
total collapse.— Peter
Sheppard-Skaerved.
For Violin. Composed by Various. Music Sales America. Classical Period, Broadway...(+)
For Violin. Composed by
Various. Music Sales
America. Classical
Period, Broadway and
Folk. Violin solo book
(no accompaniment,
softcover). 96 pages.
Music Sales #AM33671.
Published by Music Sales
Chamber Music Violin SKU: CF.BF115 Composed by Johann Sebastian Bach. Edi...(+)
Chamber Music Violin
SKU: CF.BF115
Composed by Johann
Sebastian Bach. Edited by
Rachel Barton Pine. SWS.
Collection. With Standard
notation. 80 pages. Carl
Fischer Music #BF115.
Published by Carl Fischer
Music (CF.BF115).
ISBN
9781491150993. UPC:
680160908493. 9x12
inches.
Johann
Sebastian Bach’s
(1685—1750)
SixSonatas and Partitas
have captivated
violinistsfor centuries.
Rachel Barton
Pine—havingspent
decades studying the
music of Bach,his
contemporaries, and his
predecessors—now
offers this unparalleled
edition completewith
detailed historical
notes,
performancesuggestions,
and downloadable study
materialsincluding a new
Urtext edition and a
speciallyprepared
manuscript. Pine’s
interpretationis informed
by thorough historical
study, which has been
polished byyears of
performance insight, but
also encourages those
studying
Bach’srepertoire
to craft their own unique
interpretation of these
timelessmasterpieces.
This edition closely
follows Pine’s
critically acclaimed
2016recording
“Testament:
Complete Sonatas and
Partitas for Solo Violin
byJ.S. Bach†(Avie
2360) making it an
invaluable resource for
any student,teacher, or
performer enthralled with
J.S. Bach’s long
standing legacy.Ms. Pine
holds the distinction of
being the only American
and youngestperson to win
the gold medal at the
J.S. Bach International
ViolinCompetition in
Leipzig, Germany,
1992. here is no one
right way to play Bach.
More thanalmost any
repertoire, each
individual’s
interpretation isas
unique as their
personality. Though I
have spent
decadesstudying
Bach’s music as
well as that of his
contemporariesand
predecessors, my final
rationale for
artisticdecisions is
often taste and instinct.
Every violinist
whoundertakes a
lifetime’s journey
with this incredible
repertoireis continually
discovering new ideas.
Thus, theopinions on the
following pages may
evolve over time.However,
everything in the sheet
music closely follows
my2016 recording
“Testament:
Complete Sonatas and
Partitasfor Solo Violin
by J.S. Bach†(Avie
2360), which I trulyfeel
represents the
culmination of my
exploration intothese
extraordinary works.In
choosing to present this
edition, my hope is
thatyou will find useful
solutions to challenges
of fingering,bowing, and
polyphony, and helpful
information
aboutphrasing. I have
also included additional
dynamic suggestionswith
the hope that trying
these ideas will help
inspireyou to discover
your own. All of these
markings aredesigned to
work with a baroque
violin and baroque bow,a
modern violin and baroque
bow, or a modern
violinand modern bow.
While the information in
this editionis unusually
dense, there is much that
I did not include,such as
lifts, breaths,
articulations, whether to
play on oroff the string,
metronome markings,
details of timing,and
emphases other than
hemiolas.I offer this
book to you in the spirit
of Bach: “SoliDeo
Gloria.â€.
Concert Pieces for Teaching Beginning Strings. By Doris Gazda; Henry Purcell; Ja...(+)
Concert Pieces for
Teaching Beginning
Strings. By Doris Gazda;
Henry Purcell; James
Pierpont. Arranged by
Doris Gazda. For Violin
I, Violin II. This
edition: Violin. Student
Book. 16 pages. Published
by Carl Fischer.
Playable on Any Two Instruments or Any Number of Instruments in Ensemble. Arrang...(+)
Playable on Any Two
Instruments or Any Number
of Instruments in
Ensemble. Arranged by
Michael Story. For
Violin. Mixed Instruments
- Flexible
Instrumentation. Pop
Instrumental Ensembles
for All. Pop. Book. 24
pages. Published by
Alfred Publishing.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.416415110
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Full score. With Standard
Notation. Duration 10
minutes. Theodore Presser
Company #416-41511.
Published by Theodore
Presser Company
(PR.416415110).
UPC:
680160621286.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Music from the Motion Picture Soundtrack for Violin Solo. Composed by Joseph B...(+)
Music from the Motion
Picture
Soundtrack for Violin
Solo.
Composed by Joseph
Bologne
(Chevalier de
Saint-Georges)
and Kris Bowers.
Instrumental
Solo. Classical, Movies.
Softcover. 24 pages.
Published
by Hal Leonard