| Concerto Violon [Conducteur] Theodore Presser Co.
Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percu...(+)
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.416414600
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Full score.
With Standard notation.
Composed 2012. Duration
20 minutes. Theodore
Presser Company
#416-41460. Published by
Theodore Presser Company
(PR.416414600). UPC:
680160612246. 8.5 x 11
inches. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percu...(+)
Orchestra 2 Bassoons, 2
Clarinets in Bb, 2
Flutes, 2 Oboes, 2
Trombones, 3 Percussion,
3 Trumpets in C, 4 Horns
in F, Bass Clarinet, Bass
Trombone, Piccolo, Solo
Violin, Strings, Timpani
SKU: PR.41641460L
For violin and
Orchestra. Composed
by Samuel Adler.
Premiere: Tulsa Symphony
Orchestra, Siwoo Kim,
violin; Tulsa, OK.
Contemporary. Large
Score. With Standard
notation. Composed 2012.
Duration 20 minutes.
Theodore Presser Company
#416-41460L. Published by
Theodore Presser Company
(PR.41641460L). UPC:
680160612253. 11 x 15
inches. $145.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra 2 Bassoons, 2 Clarinets (Clarinet II doubles on Bass Clarinet), 2 Oboe...(+)
Orchestra 2 Bassoons, 2
Clarinets (Clarinet II
doubles on Bass
Clarinet), 2 Oboes (Oboe
II doubles on English
Horn), 2 Trombones
(Trombone II doubles on
Bass Trombone), 2
Trumpets in C, 3 Flutes
(Flute III doubles on
Piccolo), 4 Horns in F,
Harp, Piano/Cel, Timpani
SKU: PR.44641253L
For violin and
Orchestra. Composed
by Stephen Jaffe.
Contemporary. Large
Score. With Standard
notation. Composed
Dec-99. Duration 35
minutes. Theodore Presser
Company #446-41253L.
Published by Theodore
Presser Company
(PR.44641253L). UPC:
680160593422. 11 x 17
inches. $225.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
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. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Missa solemnis in C Violon satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, 2 clarinets, 2 trombones, timpani, violin ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2
clarinets, 2 trombones,
timpani, violin solo, 2
violins, basso continuo
SKU: CA.2703511
Composed by Karl Ditters
von Dittersdorf. Edited
by Johannes Kirner.
Violin solo. Sacred vocal
music, Masses, Latin.
Single Part, Violin Solo.
Composed circa 1769. KreD
326. 4 pages. Duration 42
minutes. Carus Verlag #CV
27.035/11. Published by
Carus Verlag
(CA.2703511). ISBN
9790007199166. Key: C
major. Language:
Latin. Of the 19
Masses by Dittersdorf
which have been handed
down, the present Mass,
which is being published
for the first time,
enjoyed a special
popularity during the
composer's lifetime and
it was even performed for
the coronation of emperor
Franz II in the Frankfurt
Cathedral. This solemn,
prestigious Mass shows
evidence of choral
movements in traditional
contrapuntal church style
as well solo parts with a
modern, cantabile
character. In addition,
the Gloria includes a
lengthy virtuosic violin
solo, which also lends
the work a concertante
character (Dittersdorf
was a professional
violinist). Score and
part available separately
- see item
CA.2703500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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