(11 Popular Christmas Carols in a Variety of Styles). Arranged by Larry Clark. For violin. Score and audio CD. 24 pages. Published by Carl Fischer

Composed by Mary Ann Harbar (Willis). For violin. Beginning-Intermediate. Book and Online Audio. 60 pages. Published by Mel Bay Publications, Inc

Violin

SKU: OT.22090

Composed by Daniel Akiva. For violin solo. Classical. Score. OR-TAV Music Publications #22090. Published by OR-TAV Music Publications (OT.22090).

ISBN 9789655050738. 8.27 x 11.69 inches.

Daniel Akiva's Partita for violin solo consists of six movements based loosely on music of the Sephardic Jews. It was written for students as performance material, and dedicated to them.
Contents:
Liturgical Song
Prayer
Supplication
Dance
Kaddish
Supplication
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

Violin & Viola

SKU: AP.1-ADV6203

For Violin and Viola. Composed by Hauke Piper. Duet or Duo; Solo Small Ensembles; String Duo - Violin and Viola. Advance Music. Form: Dance. Latin. Score. Advance Music #01-ADV6203. Published by Advance Music (AP.1-ADV6203).

UPC: 805095062038. English.

Portraying the passionate, complex relationship that often develops between two people dancing the tango, this intriguing set conveys a variety of moods---impulsive, mysterious, boastful, impatient, animated, longing, frivolous, etc. As the title implies, the first 12 of these musical sketches are about one minute in duration; the closing Cancion is a bit longer.

Aus: Symphoniae Sacrae I. By Heinrich Schutz. Edited by Schmalzriedt, Siegfried. For Solo Tenor, 2 Violins, Basso continuo. SWV 261 (op. 6 no. 5). Full score available separately - see item CA.2026100. Stuttgart Urtext editions. Set of parts. Language: Latin/German. Composed 1629. 8 pages. Duration 8 min. Published by Carus Verlag (German import).

Violin & Cello

SKU: AP.1-ADV6202

For Violin and Cello. Composed by Mike Curtis. Duet or Duo; Solo Small Ensembles; String Duo - Violin and Cello. Advance Music. Form: Dance. Latin. Score. Advance Music #01-ADV6202. Published by Advance Music (AP.1-ADV6202).

UPC: 805095062021. English.

The huapango is a popular dance originating on the east coast of Mexico. Its subtle alternation of 2 and 3 can be demonstrated in this recitation: MEX-ico, EC-uador, CHI-le, COS-ta, RI-ca. The addition of an improvising percussionist could enhance performance. Arranged or violin and cello.

Titles: I. Santa Cruz * II. Las Islitas * III. Miramar * IV. Ofelia * V. El Llano.

By Tarquinio Merula. Edited by Furlinger, Wolfgang. Arranged by Wolfgang Furlinger. For Solo Soprano, Violin, Basso continuo. Cantatas, Hymn settings. Score. Language: Latin. 12 pages. Published by Carus Verlag (German import).

Aus: Symphoniae Sacrae I. By Heinrich Schutz. Edited by Schmalzriedt, Siegfried. For Solo Tenor, 2 Violins, Basso continuo. SWV 261 (op. 6 no. 5). Stuttgart Urtext editions. Score (without envelope). Language: Latin/German. Composed 1629. 12 pages. Duration 8 min. Published by Carus Verlag (German import).

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.