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 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.
Chamber Music Violin SKU: PR.114424050 Composed by Adolphus Hailstork. Sw...(+)
Chamber Music Violin
SKU: PR.114424050
Composed by Adolphus
Hailstork. Sws. Theodore
Presser Company
#114-42405. Published by
Theodore Presser Company
(PR.114424050).
ISBN
9781491137369. UPC:
680160690084.
Hints
of Bach’s solo violin
music occasionally infuse
Hailstork’s modernist
side, creating a
fascinating drama in this
three-movement suite for
solo violin. While
overall in a
fast-slow-fast form, each
movement is a world in
itself with engaging
contrasts, pacing, and
textures within the solo
instrument.
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 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).
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.
Chamber Music Violin SKU: PR.144403330 Sonata for violin Solo. Com...(+)
Chamber Music Violin
SKU: PR.144403330
Sonata for violin
Solo. Composed by
Sydney F. Hodkinson.
Contemporary. Score. With
Standard notation.
Composed Nov-95. 11
pages. Duration 20
minutes. Theodore Presser
Company #144-40333.
Published by Theodore
Presser Company
(PR.144403330).
Chamber Music Violin SKU: PR.114418570 Composed by Adolphus Hailstork. Wi...(+)
Chamber Music Violin
SKU: PR.114418570
Composed by Adolphus
Hailstork. With Standard
notation. 12 pages.
Duration 11 minutes.
Theodore Presser Company
#114-41857. Published by
Theodore Presser Company
(PR.114418570).
ISBN
9781491112281. UPC:
680160642427.
Cast
in a formal mold inspired
by the Bach partitas,
Hailstork’s
four-movement SUITE FOR
SOLO VIOLIN begins with a
perky Prelude, followed
by a March with a few
subtle winks at music
from the Prelude. The
third movement is a
beautiful Melody with
slow-fast-slow form, and
the Finale incorporates a
few remembrances of the
previous movements in
building a dramatic drive
to the finish.
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).