Elixir Of Sorrows. Composed by Carter Pann (1972-). Contemporary. Full sc...(+)
Elixir Of Sorrows.
Composed by Carter Pann
(1972-). Contemporary.
Full score (study). With
Standard notation.
Composed 2015. 8 pages.
Duration 4 minutes.
Theodore Presser Company
#114-41751S. Published by
Theodore Presser Company
(PR.11441751S).
For solo violin. Composed by Ralph Shapey. Trilogy. Contemporary. Perform...(+)
For solo violin.
Composed by Ralph Shapey.
Trilogy. Contemporary.
Performance score. With
Standard notation.
Composed November 25
1985. 8 pages. Duration 7
minutes, 30 seconds.
Theodore Presser Company
#114-41183. Published by
Theodore Presser Company
(PR.114411830).
(For Violin Solo). By David Finko. For Violin Solo. Classical. Solo part. Standa...(+)
(For Violin Solo). By
David Finko. For Violin
Solo. Classical. Solo
part. Standard notation.
8 pages. Duration 12
minutes. Published by
Theodore Presser Company
solo part classical
(For Solo Violin). By Donald Erb. For Violin Solo. Solo part. Standard notation....(+)
(For Solo Violin). By
Donald Erb. For Violin
Solo. Solo part. Standard
notation. 11 pages.
Duration 15 minutes.
Published by Theodore
Presser Company solo
part
Goldberg Variations Violon [Conducteur et Parties séparées] Theodore Presser Co.
(Air with Diverse Variations). By Johann Sebastian Bach (1685-1750). Arranged by...(+)
(Air with Diverse
Variations). By Johann
Sebastian Bach
(1685-1750). Arranged by
William Cowdery. String
quartet. For Violin. New
Zealand String Quartet.
Score and parts. Standard
notation. Composed
SEPTEMBER, 2007. BWV 988
Pachelbel Canon Violon [Conducteur et Parties séparées] Theodore Presser Co.
For Violin, Viola, and Piano. Composed by Johann Pachelbel (1653-1706). A...(+)
For Violin, Viola, and
Piano. Composed by
Johann Pachelbel
(1653-1706). Arranged by
Daniel Dorff. Baroque.
Score and part(s). With
Standard notation. 10
pages. Duration 4
minutes. Theodore Presser
Company #114-41781.
Published by Theodore
Presser Company
(PR.114417810).
(For Solo Violin). By Chen Yi. Solo instrument. For Violin. Premiered by Chen Xi...(+)
(For Solo Violin). By
Chen Yi. Solo instrument.
For Violin. Premiered by
Chen Xi at the 1st
anniversary Prof. Lin
Yaoji memorial concert at
the China National Center
for the Performing Arts
Concert Hall, Beijing,
China. Contemporary. Solo
part. Standard notation.
Duration 4 minutes.
Published by Theodore
Presser Company
By Richard Wernick. Edited by Margaret Farish. Arranged by Margaret Farish. Stri...(+)
By Richard Wernick.
Edited by Margaret
Farish. Arranged by
Margaret Farish. String
ensemble. For Violin I,
Violin II. Performance
score. 6 pages. Published
by Theodore Presser
Company.
Chamber Music Bass
Clarinet, Clarinet 1,
Clarinet 2, Violin
SKU: PR.444410070
For Violin, Two
Clarinets, and Bass
Clarinet. Composed by
Sydney F. Hodkinson. Set
of performance scores.
With Standard notation. 9
pages. Duration 5:30.
Theodore Presser Company
#444-41007. Published by
Theodore Presser Company
(PR.444410070).
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.41641511L
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Large Score. With
Standard Notation.
Duration 10 minutes.
Theodore Presser Company
#416-41511L. Published by
Theodore Presser Company
(PR.41641511L).
UPC:
680160621293.
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.
Chamber Music Violin SKU: PR.144404650 For solo violin. Composed b...(+)
Chamber Music Violin
SKU: PR.144404650
For solo violin.
Composed by Ronald
Caltabiano. Contemporary.
Performance score. With
Standard notation.
Composed 2002. 4 pages.
Duration 4 minutes, 45
seconds. Theodore Presser
Company #144-40465.
Published by Theodore
Presser Company
(PR.144404650).
UPC:
680160030958. 8.5 x 11
inches.
Character
Sketch No. 1 for solo
violin was written in
2002 for the Irving M.
Klein International
String Competition.
Duration: 4' 45.
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.
Chamber Music Marimba, Percussion, Piano, Suspended Cymbal, Vibraphone, Violin <...(+)
Chamber Music Marimba,
Percussion, Piano,
Suspended Cymbal,
Vibraphone, Violin
SKU: PR.114408200
For violin,
Percussion, and
Piano. Composed by
Peter Scott Lewis.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed April 27 1993.
40+12+8 pages. Duration
17 minutes. Theodore
Presser Company
#114-40820. Published by
Theodore Presser Company
(PR.114408200).
Chamber Music Clarinet, Contrabass, Percussion, Piano, Violin, tenor Saxophone <...(+)
Chamber Music Clarinet,
Contrabass, Percussion,
Piano, Violin, tenor
Saxophone
SKU:
PR.11441304S
For
violin, Bb Clarinet, Bb
Tenor Saxophone, Double
Bass, Piano, and
Percussion. Composed
by Chen Yi. Premiered at
Kerrytown Concert House
in Ann Arbor, MI.
Contemporary. Full score.
With Standard notation.
Composed 2006. 16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-41304S. Published by
Theodore Presser Company
(PR.11441304S).
UPC:
680160620357. 8.5 x 11
inches.
The mixed
sextet The Han Figurines
is a musical realization
of my impression of the
Chinese clay figurines of
the Eastern Han (25-220
A.D.). Have you seen the
shapes of the enraptured
storyteller, the vivid
acrobat, and the moving
dancers with long
sleeves? They are in
highly exaggerated forms
and postures, in large
and sweeping movements --
the innocent and bold
images symbolize the
strength, motion, and
speed. It's the beauty of
the crude and primitive
power of humanity in its
conquest of the material
world. --Chen Yi. The
mixed sextet The Han
Figurines is a musical
realization of my
impression of the Chinese
clay figurines of the
Eastern Han (25-220
A.D.). Â Have you seen
the shapes of the
enraptured storyteller,
the vivid acrobat, and
the moving dancers with
long sleeves? Â They
are in highly exaggerated
forms and postures, in
large and sweeping
movements — the
innocent and bold images
symbolize the strength,
motion, and speed.
 It’s the
beauty of the crude and
primitive power of
humanity in its conquest
of the material
world.—Chen
Yi.
Chamber Music Cello, Piano, Viola, Violin SKU: PR.11441932S For Violin...(+)
Chamber Music Cello,
Piano, Viola, Violin
SKU: PR.11441932S
For Violin, Viola,
Cello, and Piano.
Composed by Jan
Krzywicki. Sws. Full
score. 56 pages. Duration
22 minutes. Theodore
Presser Company
#114-41932S. Published by
Theodore Presser Company
(PR.11441932S).
UPC:
680160676088. 9 x 12
inches.
The first
movement begins with
detached fragments and
soon turns into something
cohesive and dramatic.
The second movement
pastorale is a beautiful
interlude with glistening
piano effects. The fourth
movement closes the
quartet with a long
whirlwind at the end.
Overall, Krzywicki left
me with the same feeling
I get from Beethoven's
late quartets -- the
sense that you're in
direct contact with the
composer's state of mind.
Krzywicki's feelings
aren't as conflicted as
Beethoven's but they're
just as real. -- Tom
Purdom
(BroadStreetReview.com).<
/p>
Chamber Music Violin, Violoncello SKU: PR.11441691S For Violin And Vio...(+)
Chamber Music Violin,
Violoncello
SKU:
PR.11441691S
For
Violin And
Violoncello. Composed
by Shulamit Ran.
Premiered in Kneisel
Hall, Maine.
Contemporary. Score. With
Standard notation.
Composed October 13 2011.
20 pages. Duration 15
minutes. Theodore Presser
Company #114-41691S.
Published by Theodore
Presser Company
(PR.11441691S).
UPC:
680160631261. 9 x 12
inches.
Two
disparate instruments
begin in their own
voices, slowly become
aware of each other, play
off of each other, play
together, become close.
The analogy to a human
relationship (though not
one specific type of
relationship) between two
people that either are,
or become, extremely
close, fraught with all
the complexity,
contradictions, and
degrees of emotion that
an ever-evolving close
relationship engenders,
was indeed on my mind
throughout the
compositional process,
says Ran. A Due spans a
wide range of emotional
content from fully
immersed musicians.
Chamber Music Clarinet, Piano, Violin, Violoncello SKU: PR.144404800 F...(+)
Chamber Music Clarinet,
Piano, Violin,
Violoncello
SKU:
PR.144404800
For
Violin, Clarinet, Cello
and Piano. Composed
by Jay Reise.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2004.
52+16+16+16 pages.
Duration 21 minutes.
Theodore Presser Company
#144-40480. Published by
Theodore Presser Company
(PR.144404800).
UPC:
680160031153.
Reise
brings his signature
rhythmic impulses to his
2004 quartet, the
intricate Across the
Horizons. Although many
point to the
instrumentation as a
Messiaen quartet (Quatuor
pour le fin du temps),
let there be no further
comparison. Reise, who
was earlier introduced to
Carnatic rhythms of South
India music and who finds
ways of incorporating
them into his own, has
taken us on a significant
journey in three
movements. As always,
Reise's music attracts
the finest performers -
Across the Horizons has
been recorded by Charles
Abramovic (piano),
Allison Herz (clarinet),
Karen Bentley Pollick
(violin), and Michal
Schmidt (cello). For
advanced performers.